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Professor Hoffmann 





LATER MAGIC 


WITH NEW MISCELLANEOUS TRICKS AND 
RECOLLECTIONS OF HARTZ THE WIZARD 


BY 

PROFESSOR HOFFMANN 

AUTHOR OF “ MODERN MAGIC,” *' MORE MAGIC,” ETC. 







NEW AND ENLARGED EDITION 
WITH 266 ILLUSTRATIONS 


NEW YORK 

E. P. DUTTON & COMPANY 

LONDON: GEORGE ROUTLEDGE & SONS, Ltd. 
I9II 




New York 

E. P. Dutton & Company 
Copyright, 1904 
Published, February, 1904 

Copyright, 1911, by 
E. P. Dutton & Company 




Ube Unfcfterbocfeer iprees, flew JlJorlt 


PREFACE. 


I N producing yet another volume on Magic, I have 
to offer my best thanks to the many conjurers, 
professional and otherwise, who have kindly communi¬ 
cated to me good things of their own, and given me 
permission to use them. To my friends Hartz and 
David Devant, and, among amateurs, to Mr. C. 0. 
Williams, of Cardiff, I owe a special debt of gratitude 
in this particular. 

I have further to record my great obligation to Messrs. 
Hamley Brothers, the oldest and best-known firm of 
London dealers, for much useful information, and for 
valuable assistance in the way of lending apparatus for 
illustration. 

The editors of Mahatma and Die Zaubenvelt kindly 
placed the contents of their columns at my disposal, 
and I have freely availed myself of their courtesy. 
Where the author of a given trick is known, I have 
given him the credit of the invention, but the discovery 
in such cases of the real Simon Pure is not always an 
easy matter. Till a conjuring trick has become a suc¬ 
cess, nobody cares who invented it, but let it once 
“catch on,” and there are half a dozen claimants for the 
honour. If, therefore, I have unwittingly wronged any 
one in this particular, I trust he will accept my apology. 




IV 


Preface 


My original idea was to make this work cover the 
whole field of conjuring, but I speedily found that it 
would be unwise to attempt to do so. Magical material 
has accumulated to such an enormous extent during 
the last few years as to make it impossible to deal with 
it adequately within the compass of a single volume. 1 
No doubt a trick may be described, after a fashion, in 
half a page. Indeed, this is too often done in magazine 
articles, wherein a trick is explained just far enough to 
gratify the curiosity of the reader,—and to spoil his 
enjoyment of it for the future. But a conjuring trick 
so described is like an air picked out with one finger on 
the piaho. To give it artistic value it needs harmoni¬ 
ous setting (in other words, a carefully arranged mise 
en scene), and a suitable accompaniment, represented 
by the “patter” of the performer. To pursue the 
simile still further, there are often several variations on 
the same theme, each of which is equally deserving of 
being recorded. To do full justice to a single trick, 
therefore, instead of half a page, half a dozen may be 
needed. 

Having therefore to elect between dealing with the 
whole subject superficially or a part thoroughly, I 
finally decided for the latter alternative. I have no 
intention, however, of leaving my work incomplete. 
The present volume has taken over two years to com¬ 
pile; but some months of that time were devoted to 
the classification and indexing of material, much of 

1 When Modern Magic was written, the price-list of Messrs. 
Hamley (who were then, as now, the principal English makers of 
conjuring apparatus) consisted of a single slip of paper about 
fourteen inches long. At the present day their catalogue com¬ 
prises over a hundred double-column pages, and contains more 
than a thousand items. 


Preface 


v 


which I have not been able to make^any present use of. 
If life and health permit, I hope to make an early be¬ 
ginning upon a further volume, dealing with the sub¬ 
jects unavoidably omitted in this one. 

Louis Hoffmann. 


PREFACE TO. NEW EDITION. 


W HEN Later Magic first saw the light, it was, as 
stated in the Preface, my hope and intention 
to follow it up with a further volume on similar lines. 
In due course I began the work, but advancing age 
and the pressure of other engagements have compelled 
me to abandon it. 

The first part of this new matter (Chapter XIII.; is 
devoted to the description of a few items (all, I venture 
to think, of some special interest) which would other¬ 
wise have found a place in the work now laid aside. 
In the second part (Chapter XIV.) I have reproduced, 
in more permanent shape, my articles on the many 
ingenious inventions of my old friend Hartz, which 
have hitherto only been accessible in serial form. 

Louis Hoffmann. 




PUBLISHERS’ NOTE. 


T HE new material referred to by Professor Hoff¬ 
mann is added to this new edition of Later 
Magic as supplementary chapters on “New Mis¬ 
cellaneous Tricks” and “Recollections of Hartz the 
Wizard.” 



CONTENTS 


PAGE 

Preface .......... iii 

Introduction .xvii 


CHAPTER I' 

THE CONJURER’S DRESS, AND CONTRIVANCES IN 
CONNECTION THEREWITH 


The Coat ........... 2 

The Vest .......... 4 

The Trousers . . . ... . . . . 5 

Removable Pochettes ....... 6 

The Shirt-Cuffs ......... 8 

A Trick with the Ordinary Shirt-Cuff . . . .10 

The Hat . . . . . . . . . .12 


CHAPTER II 

APPLIANCES AND EXPEDIENTS OF GENERAL UTILITY 


Various Forms of the Servante . . . . . .16 

Bag Servantes . . . . . . . 17 

Methods of Fixing . . . . . . .18 

A New Form of Portable Servante . . . . 19 

The “Premier” Servante . . . . . .20 

The Revolving Servante . . . . . .24 

The Vest Servante . . . . . . .25 

The Conjurer’s Cigar-box . . . . . . .28 

A Special “Trap” ........ 30 

Improved “Pulls” ....... 33 

Willmann’s Vanisher . . . . . . *33 

The Flying Ring.35 

The “ Lightning” Vanisher . . . . . -37 

Improvements in the Direct, or Non-Mechanical, Pull . 39 

Guides, for Use with Pulls ...... 40 

vii 



















viii Contents 

PAGE 

The Glass with Mirror Partition . . . . . • 4 2 

Different Forms of the Glass . . . . .46 

Illustrations of its Uses . . . • • -47 

Contrivances for “ Passing Off ” ...... 49 

The Hartz Bottle ........ 5 ° 

The Hartz Matchbox. 5 ° 

The Hartz Pistol ........ 5 2 

Another Form of Pistol for the Same Purpose . . 53 

The “Excelsior” Clip . . . . . • • -54 

The Smoke Apparatus . . . . . . . *55 

A Magical Explosive ........ 60 

Suggestions for its Use . . . . . . . 61 

The Spider .......... 62 

The “ Multum-in Parvo ” Vanisher . . . .67 

The Hartz “Hook,” for Working Mechanical Pieces . . 68 

The Magic Bell . . . . . . . 71 

The Crystal Cash-box . . . . . . -73 

The Bird-Cage ........ 74 

Change (or Load) from Back of Assistant . . . -77 

The Pneumatic Sucker . . . . . . -78 

The Ball Clip.81 

The Velvet Changing Bag . . . . . .81 


CHAPTER III 

A SPECIAL TABLE, AND SOME TRICKS PERFORMED 
BY ITS AID 


The Heller and De Vere Table . . . . . .85 

The Bottomless Tumbler. 92 

Tricks Performed by the Aid of the Above Table 

Concatenation Extraordinary ..... 94 

A Simpler Method, with the Mirror Glass . . 98 

Devant’s Method ....... 99 

The Rose in the Glass . . . . . . . ioo 


CHAPTER IV 

THE MAGIC WAND, AND TRICKS THEREWITH 

The Production of the Wand 

From the Sleeve. 

From the Purse ....... 

From Decanter on Table 








Contents 


The Self-supporting Wand. 

Introductory Patter. 

Various Methods of Suspension 

The Wand Supported without any Mechanical Aid 

The Rapping Wand. 

The Auto-gravity Wand ..... 

The Climbing Ring ...... 

The Rising and Falling Wand .... 

Various Methods ...... 

Special Wands for Various Purposes 

Wands for the Production of Handkerchiefs . 

How to Change the Wand into a Handkerchief 

A Wand for the Production of Cigars 

The “Swallowing” Wand .... 

CHAPTER V 


ix 

PAGE 

I0 5 
105 
108 
11 2 
113 
116 
Il8 
120 
I 21 

122 

126 

130 

132 


TRICKS WITH WATCHES 

Methods for Obtaining Secret Possession of a Watch 


The Paper Bag (Various Kinds).134 

Wrapping in Paper . . . . . . .138 

The Alpaca Bag ........ 140 

“ Exchanging” a Watch (Various Methods) .... 142 

The American Vanisher . . . . . . .145 

A New “Palm” for Watches ...... 146 

The Noisy Watch-winder ....... 148 

An Improved “Repeater” . . . . . . .149 

To Reproduce a Borrowed Watch in Any One Selected of a 

Number of Boxes . . . . . . .150 

A Lost Watch Found in Performer’s Purse . . . .152 

Another Method . . . . . . . .154 

A Borrowed Watch Changed to a Lemon . . . .156 

A Borrowed Watch Reproduced from a Glass of Milk . . 157 

A Watch Fired from a Pistol, Attaching Itself to a Borrowed 

Hat ......... 162 

A Novel Watch Trick . . . . . . . .163 

Watch It! . . . . . . . . .165 

Another Method . . . . . . . .167 

The Locked and Corded Boxes . . . . . .172 

The Old Method . . . . . . . 173 

The Writer’s Own Method ..174 

The Hartz Method . . . . . . ,176 













X 


Contents 


PAGE 

The De Vere Method . . . . . • • l &° 

The Flight of Time . . . . • • .183 

CHAPTER VI 

TRICKS WITH RINGS 


Exchanging the Ring . . . . . • . .189 

To Catch Rings on the Wand . . . . • * • I 9 I 

A Borrowed Ring Found in a Potato . . . . *94 

The Ring and the Card . . . . . • .196 

The Mystic Glove and Rings . . . . . .198 

The Old Method . . . . . . • • 1 99 

The Hartz Method . . . . . . • 1 99 

The Wedding Ring and Flag ...... 204 


CHAPTER VII 

TRICKS WITH HANDKERCHIEFS 

The Recommendations of the Handkerchief for Magical Pur¬ 
poses ......... 207 


Section I 


THE MAGICAL PRODUCTION OF HANDKERCHIEFS 


The False Finger . 

The False Thumb . 

The Finger Shell and False Palm 
The Rubber Band 
Production from Bend of Elbow 
Production from the Trouser-Leg 
The Hand-Box 
The Cache .... 

The Hamley Handkerchief Ball 
Production from the Wand . 
Production from a Match-Box 
The “Monarch” Handkerchief Producer 
Clips for Handkerchiefs 
A Novel Method of Production 


209 

214 

215 

216 

217 

217 

218 

219 

220 
222 

222 

223 

224 

225 













Contents xi 

Section II 

THE MULTIPLICATION OP HANDKERCHIEFS 

PAGE 

From the Sleeve.226 

Conradi’s Multiplying Tube . . . . . . .227 

A Simple Appliance for Handkerchief Multiplication . .228 

Black, Red, and White . . . . , . .229 

Handkerchief Multiplication on a Larger Scale . . .232 

Stillwell’s Handkerchief Act . . . . . .234 

Simultaneous Production of a Desired Number of Handker¬ 
chiefs . . . . . . . . . 238 

Handkerchiefs Increasing in Size as well as Number . . 239 

A Special Method of Producing the First Handkerchief . 240 

Section III 

COLOUR-CHANGING TRICKS 

The Inventors of the Colour-Change . . . . .241 

Various Methods of Colour-Changing ..... 242 

The Conradi Tube ........ 242 

Sundry Appliances for Colour-Changing ... 242 

Roterberg’s Colour-Change . . . . . .244 

Marcellin’s Colour-Change . . . . . .246 

Colour-Changing by the Aid of a Paper Tube . . .247 

The Elementary Method ...... 248 

Willmann’s Colour-Change . . . . . .252 

A Six-fold Colour-Change . . . . . . .256 

To Change the Colour of a Handkerchief by Merely 

Drawing it Through the Hand . . . .258 

The Brass Tube, with Sliding Cup, for Colour-Changing . 260 

Willmann’s “Metropolitan Railway” Trick .... 262 

Section IV 

METHODS OF “VANISHING” A HANDKERCHIEF 

The Rubber Ring.268 

A New Handkerchief Vanisher.269 

Roterberg’s Vanisher, and Passes Therewith . . .270 

Another Method of Using the Vanisher . . . .273 

The “ Eau de Cologne ” Bottle ...... 275 









Contents 


PAGE 


xii 


A Handkerchief Changed to a Billiard-Ball . . . • 2 77 

An Ingenious Device to Facilitate the Palming and Vanishing 

of a Handkerchief . . . . . . .278 

The Glass Ball, for Changing a Handkerchief to a Billiard-Ball 279 
The Nickel Tube for Vanishing a Handkerchief . . • 279 

Improved form . . . . . . . .281 

The Nickel Tube with Pull . . . . . . .283 

The Vanish from a Paper Cylinder ..... 284 

The “ Lamp-Chimney ” Vanish ...... 284 

To Vanish Four Handkerchiefs Simultaneously . . .287 


Section V 


METHODS OF REPRODUCING A VANISHED HANDKERCHIEF 


Reproduction Beneath a Soup-Plate ..... 290 

Reproduction from a Sealed Envelope . . . . .292 

Two Vanished Handkerchiefs Reproduced from a Nest of 

Three Envelopes . . . . . . .294 

The Drum-Head Tube .. .297 

Reproduction from a Candle.299 

Buatier de Kolta’s Method . . . . . .299 

The Glass Box, for Reproducing a Handkerchief . . .302 


Section VI 


MISCELLANEOUS HANDKERCHIEF TRICKS 

Devant’s Handkerchief Trick ..... 

The Hat and Handkerchief ..... 

The Closed Glass Tube ( L'Etui en Cristal) 

The Handkerchief Cut and Restored (Modern Method) 
The “Marvellous Metamorphosis” Silver Cylinder 
A Handkerchief Changed to Paper Ribbons . 

A Handkerchief Transformed into Paper Shavings 
The Egg and Handkerchief Trick (Modern Methods) . 
D’Alvini’s Egg and Handkerchief Trick 
Egg, Handkerchief, and Onion .... 

The very Latest Egg and Handkerchief Trick 
Handkerchiefs Turned into a Snake .... 

Hartz’s Method ...... 

The Dancing Handkerchief 

Parlour Method .... 

Stage Method. 


303 

3i5 

3i7 

319 

320 

322 

323 

326 

327 
329 

33i 

333 

335 

335 

336 






Contents 


xiii 


PAGE 


Right and Left. 

# # 

• 338 

The Flying Handkerchiefs .... 

. 

. 34i 

The Shower of Sweets (Improved Method) 

• # 

• 344 

A Postscript. 

• ' • 

• 345 

CHAPTER VIII 

FLAG TRICKS 

Bertram’s Flag Trick . . . 


• 349 

Flags and Paper Shavings .... 

, , 

• 35i 

Flags Converted into Silken Streamers . 


• 35 2 

The Production of Flags on Staves Complete 


• 353 

The Flag and Worsted Ball . 


• 357 

Devant’s “ Transvaal Flag” Trick 

• 

. 361 

CHAPTER IX 

TRICKS WITH GLOVES 

“ Vanishing ” the Gloves .... 


.. 366 

The Glove Passed into the Wand . 

, # 

. 368 

A White Glove Changed to a Black One 

. . 

* 369 

Glove-Dyeing by Magic .... 

• 

• 37i 

The Damaged Glove and Lady’s Stocking 

• 

. 376 

A Glove Conjured into a Nut, Egg, Lemon, and Orange 

• 378 

Dr. Avon’s Glove Trick .... 

• 

• 385 

CHAPTER X 

TRICKS WITH EGGS 

The Celluloid Egg. 


• 39° 

The Self-Balancing Egg .... 


• 39i 

The Egg-cup, for Vanishing an Egg 


• 39 2 

An Improved Egg-Holder .... 


• 394 

The Magical Production of Eggs . 


• 396 

Production of Eggs from the Mouth 


• 399 

Bellachini’s Method .... 


. 401 

A Smashed Egg Vanished from a Handkerchief 

• • 

• 403 

The Diminishing Egg ..... 



To Vanish an Egg from the Hand 


• 40 5 

A Special Egg Vanisher .... 


. 407 













XIV 


Contents 


PAGE 

The Wandering Eggs . . . . . • • • 4 ° 9 

Another Method . . . . . • • .412 

New Egg and Tumbler Trick . . . . . 4*7 

An Illustration of Free-Trade Principles . . . • 4*8 

Eggs from Nowhere, and Back Again . . . . 4 2 5 

An Egg-Laying Hat ........ 426 

A Novel Egg-Bag Trick ....... 4 2 9 

The Ribbon-Producing Egg . . . - . • • 43 2 

The Bewitched Orange ....... 434 


CHAPTER XI 


TRICKS WITH HATS 


To Cut a Piece out of a Hat, and Restore it . 

A Glass of Wine in a Hat ...... 

The Mesmerized Hat ....... 

A Billiard Cue Produced from a Hat .... 

Methods of Loading a Hat ...... 

Various Productions from Hat 

Half a Dozen Babies ...... 

Alarm Clocks ....... 

Flower-Balls ........ 

Bouquets ........ 

The Garland of Oak-leaves ..... 

A Cake Baked in a Hat (Improved Method) 

The Wandering Oranges ...... 

A Glass of Wine Passed Visibly through the Crown of a Hat 
The Vanished Cannon-Ball ...... 


43 8 

44 o 

444 

447 

448 


450 

451 

453 

454 

455 

45 6 
459 
463 
468 


CHAPTER XII 

MISCELLANEOUS TRICKS 

The Afghan Bands ...... 

The Chinese Paper-Tearing Trick .... 

The Original Form of the Trick 
Various Methods of Performing it . 

Ellis Stanyon’s Method ..... 

Maurice Garland’s Method, with Colour-Change 
The Melting Coin (Improved) .... 

The Great Dictionary Trick ..... 

My Friend in Thibet ...... 


47i 

473 

474 

475 
478 

483 

484 
490 
497 














Contents 


xv 


PAGE 

The Flying Thimble 

The Original Trick . . . . . . .502 

The Thimble and Paper Cone . . . . .506 

The Patriotic Thimble . . . . . . .506 

The Multiplying Thimble . . . . . .508 

The Vanishing Thimbles . . . . . *513 

The Changing Dice . . . . . . . . 514 

Improved Methods . . . . . . *515 

Chameleon Water . . . . . . . *519 

Rainbow Water ......... 522 

The Magic Organ Pipes ( Le Souper du Diable ) . . . 525 

New Method . . . . . . . . . 531 

Devant’s Jar of Water and Hat ..538 

Devant’s Bag of Mystery . . . . . .544 


CHAPTER XIII 
NEW MISCELLANEOUS TRICKS 


The Rice and Water Trick ....... 557 

The Vanishing Rice . . . . . . . 566 

Tao Li Tao, The Chinese Mystery ...... 568 

Balloons from a Hat ........ 571 

To Discover and Pocket (before Asking any Question) the Card 

Thought of by a Spectator . . . . . -573 

A New Purse Trick ........ 574 

A Silk Handkerchief Changed into a Flag . . . -576 

The Changing Handkerchief Boxes ..... 578 

The Demon Digits ........ 581 

The Acrobatic Cards . . . . . . . -583 

The Ball of Wool Trick (Improved) ..... 585 

The New Card Frame . . . . . . . 591 

Outwitting the Conjurer ....... 595 

The Great Book Mystery ....... 598 

The Crystal Balls (Improved Method).602 


CHAPTER XIV 

RECOLLECTIONS OF HARTZ THE WIZARD 


Biographical Notice . . . . • • • .614 

A Devil of a Hat.625 

The Inexhaustible Handkerchief ...... 648 











XVI 


Contents 


\ 


The Improved Money Column 

. 

. 

PAGE 

• 655 

The Multiplication of Money 



• 659 

The Mysterious Addition .... 



. 662 

The Inverted Glass of Water .... 



. 666 

The Multiplying Billiard Ball 



669 

The Dematerialized Glass of Water 



. 672 

Card, Coin, and Candle ..... 



. 686 

The Wine and Water Trick .... 



• 695 

The Witches’ Kettle and Magic Punch-Bowl . 



700 

The Automatic Rising Cards .... 



• 703 

The Portfolio Trick ..... 



. 712 

The Second-Sight Trick .... 



• 715 

The Pocket-Picking Trick .... 


. • 

. 719 

The Aerial Walking-Cane .... 



• 725 

The Egg and Rings Trick .... 



• 733 


l’envoi 







INTRODUCTION. 



‘IME flies! The remark is scarcely original, but it 


1 forces itself upon me when I realize that over five 
and twenty years have passed away since I first took 
pen in hand to discourse of Modern Magic , and more 
than ten since its sequel, More Magic , was written. 

And while Time has been flying, Magic has not 
lagged behind. The Art of Deception, like other arts, 
has made vast strides during the last quarter of the 
dead century. Indeed, probably at no time in the 
world’s history has so much thought and ingenuity 
been brought to bear upon this subject. New and 
brilliant illusions have been devised, new sleights and 
improved methods have been invented, and old tricks 
have been so rejuvenated as to be practically new. 
The present volume is designed to give a brief account 
of the latest novelties and the most up-to-date meth¬ 
ods in some of the leading departments of. Magic, and, 
so far as those departments are concerned, to enable 
the conjurer of the twentieth century to start fully 
equipped, in point of knowledge, in the race for celeb¬ 
rity. 

I have availed myself of this opportunity to meet in 
some degree the wishes of the many correspondents 
who have from time to time begged for “more patter.” 
It is a request with which I am not in complete sym- 


xvn 



XV111 


Introduction 


pathy, for I hold that a conjurer, if he has the true 
artistic spirit, will not be content to wear borrowed 
plumes. The technique of his art he may well acquire 
from others, but there his indebtedness should end. 
No mere copy, even of the most perfect original, can 
ever claim first rank as a work of art. The outline of 
the trick the wizard may fairly borrow, but the mise en 
scene should be all his own. 

Originality in this respect is the more desirable, be¬ 
cause the same form of words which comes easily and 
gracefully from one man may be utterly out of character 
in the mouth of another. We have it on the authority 
of Shakespeare that a giant’s robe sits uncomfortably 
on a dwarfish thief, and the giant would scarcely ,be 
more at his ease in the garments of the dwarf. Bor¬ 
rowed patter is like a borrowed dress-suit,—more 
than likely to be a misfit. 

I find, however, that many beginners, and some even 
of the more advanced, though they may be able to 
master the mechanical requirements of a given feat, 
find it difficult to supply the needful dramatic element; 
they lack the creative power which clothes the dry 
bones, and gives them life. As an assistance to such 
weak brethren, I have set down in full the patter 
adopted by myself or others in connection with sundry 
tricks of special interest. Several varieties of style 
will be found here illustrated. 


LATER MAGIC 



LATER MAGIC 


CHAPTER I. 

I N commencing a new book on Magic, I find myself 
constrained to go once more to some extent over 
ground I have already trodden. But though the 
ground is the same, the landscape is altered. As in 
cities, so in conjuring, the vacant spaces are gradually 
built upon. There are many regions which formerly 
might have been disposed of in a few words, but which 
now afford abundant material for description. The 
reader will forgive me, therefore, if I hark back for a 
brief space to a subject already discussed in my earlier 
volumes, viz.: 

THE CONJURER’S DRESS 

AND CONTRIVANCES IN CONNECTION THEREWITH. 

It is one of the consequences of having a reputation 
as a conjurer, that one must be prepared to support it, 
so to speak, in season and out of season. The amateur 
in particular is liable to be called upon to “show a few 
tricks” at a moment’s notice, and it may be on occa¬ 
sions when his often repeated boast of “no prepara¬ 
tion” is a painful reality. Fortunately, such calls 



2 


Later Magic 


most frequently arise at festive gatherings, where even¬ 
ing dress is the prevailing costume, and evening dress 
is the proof armour of the modern conjurer. Sundry 
special features of a conjurer’s dress-suit were noted in 
Modern Magic , and so far as it goes, the description 
is still correct. But the magician of the twentieth 
century in this, as in many other directions, has im¬ 
proved considerably upon his predecessor of the last 
generation. 

To give the reader an idea of the extent to which the 
wizard’s war-paint may be “faked” for the purpose of 



his art, his attention is invited to the accompanying 
diagrams (Figs, i, 2, 3), which illustrate some of the 
numerous possibilities in this particular. 

THE COAT. 

Every conjurer is familiar with the ordinary loading- 
pocket within the breast of the coat. In a (Fig. 1) W e 











Later Magic 

have another form. The pocket (which may be dupli¬ 
cated on the opposite side) is in this case made to extend 
downwards to the waist, or even further, tapering as 
it goes. Its object is to hold a folding bouquet, a 
plume of feathers, or other article of greater length than 
breadth. In some cases the mouth of the pocket is 
enlarged by laying it open down one side for a few 
inches, to facilitate the production of the object, b b 
are the usual profondes , and c c are pochettes (of rather 
doubtful utility) under the tail of the coat, one on each 
side, and having vertical openings. In addition to 
these are the regular tail-pockets, opening on the out¬ 
side and used without disguise for the ordinary pur¬ 
poses of pockets. 

The letters d d represent a special pocket, opening 
under the armpit, a little above the breast pocket, and 
continued downwards through the whole length of the 
coat, being in fact a mere tube of silk, discharging at the 
bottom into the profonde, so that any object of suit¬ 
able size and weight, say a watch, placed ostensibly in 
the breast pocket, at once secretly slips down into the 
profonde. Some performers have the upper openings 
of these pockets made on the outside of the coat, under 
the armpits, the article being in this case secretly 
slipped into the pocket under cover of the act of draw¬ 
ing back the coat sleeve. 

Even the coat collar has its magical uses. The outer 
edge of the upper part (the portion which goes round 
the neck) is sewn to the coat, forming a tubular pocket 
designed for the reception of a silk handkerchief. The 
ends, e e } are open, and an inch length of black silk 
thread, attached to the corner of the handkerchief, 
with a black bead at the free end, enables the performer 


4 


Later Magic 


to draw it out when desired, this being done under 
cover of his own body, while his back is turned to the 
audience. Under each lapel may be a minute pochette, 
/ /, very handy for receiving a coin, a small glass ball, 
or a pack of “diminishing” cards. A “clip,” sus¬ 
pended on either side, may be used, either in substitu¬ 
tion for the little pochette, or as auxiliary thereto. 
Two additional pockets of small size are sometimes 
inserted at the points g g. These may either open 
vertically, or have the mouth downward, in which 
latter case they conceal a clip for holding a coin. 

THE VEST. 

From the coat we pass to the vest. This offers, 
from its smaller size, less scope for adaptation, but its 



magical uses are still considerable. In addition to the 
everyday pockets on the outside, and the customary 
elastic band sewn round the inside of the waist 1 to 
facilitate what is known as “vesting” (*.*., concealing 
articles under the front edge), sundry special pockets 
may be introduced. Thus a a (see Fig. 2 ) are two 

1 Many experts dispense with the elastic band, substituting for 
it three elastic gussets, shaped like an inverted A. one over each 



Later Magic 


5 


semi-circular pockets, just within the breast, adapted 
for the reception of small fish-bowls or the like. Out¬ 
side, at the back, on a flap suspended from the waist, 
may be a couple of similar pockets. Inside the breast 
are two smaller pockets, b b , opening vertically. (Simi¬ 
lar pockets may be placed outside, but in such case the 
opening is brought somewhat nearer to the armpit.) 
And in front, just inside and above the waistband, 
may hang two or more clips for the reception of cards 
or coins. 

THE TROUSERS. 

These naturally have their share in the general so¬ 
phistication. A leather sheath, a (see Fig. 3), down 
either leg, provides a resting-place for the 
staff of a flag, a Japanese sunshade, or 
other lengthy object. A loose-mouthed 
pocket, b, on either hip, placed some¬ 
what farther forward than the customary 
pistol-pocket, forms a capital receptacle 
for articles to be vanished. Some per¬ 
formers use a single pocket, about nine 
inches in width and seven in depth, 
lying over the central portion of the 
loins, with a vertical opening on each 
side. A pocket of this kind will be found 
extremely useful for many tricks. For 
card-conjuring, this may be replaced 
by a couple of oblong pockets, opening 
vertically at the side, and designed each 
to hold a prepared pack of cards in a 

hip and one in centre of back. The lowermost button and button¬ 
hole should in any case be brought as low down as possible, and a 
hook and eye may be added at the extreme bottom corners. 



Fig. 3. 





6 


Later Magic 


horizontal position, about an inch of the cards 
projecting. 

Further, the outer seam down either leg, a little above 
the knee, is frequently opened for about an inch in two 
or three places; the openings (which are invisible when 
the performer stands up) being in fact the mouths of 
tiny pockets destined for the reception of small silk 
handkerchiefs, fitted as described on page 3, to be 
produced, as the doctors say, pro re natd. A couple of 
rubber bands, attached inside the trouser-leg, just above 
the boot, may form a temporary abiding-place for half 
a dozen playing cards, to be “passed” there in the 
course of a performance h la Thurston. 

With the pochettes situate behind the leg at c, the 
reader is doubtless already acquainted, these having 
formed part of the equipment of the conjurer ever since 
the days of Robert-Houdin. They may be larger or 
smaller, according to the particular purpose they are 
intended to serve, and it is feasible (and sometimes very 
useful) to have a small pocket sewn on the outside of a 
larger one. 


Apropos of pochettes, by the way, I must not omit 
to note a little appliance of recent invention, in the 
shape of a removable pochette. This is 
in appearance as shown in Fig. 4. It is 
of black cloth, stretched on a wire frame 
which keeps its mouth always open, and 
is hooked to the back of the trouser-leg, 
or elsewhere as may be desirable, by 
means of bent pins, soldered to the 
frame. It is large enough to receive 
a pack of cards, a watch, or a small-sized billiard ball. 



Fig. 4. 


Later Magic 


7 


These pochettes are more particularly designed for 
the use of the amateur, who, performing only occa¬ 
sionally, may not care to encumber his dress suit with 
the regular pochettes of the professional conjurer. 

Reverting to pockets proper, i. e., forming part of the 
actual garment, I may mention a somewhat exceptional 
pocket which, where circumstances admit of its use, 
will be found extremely valuable. It is only available 
where the performer has the command of a stage of 
his own, with an accessible space below it, and its 
object is to secretly “pass off” borrowed articles to 
an assistant below. Opening on the right or left hip, 
just above the ordinary pochette, it consists of a simple 
flat tube of silk, two and a half inches wide, open at 
each end, and extending right down the trouser-leg. 
To use it, an opening, three inches long and one and a 
half wide, must be cut in the stage, and hidden from 
the view of the spectators by the foot of a small round 
table or gueridon , placed just in front of it. Below the 
opening is suspended a small net. Obviously, if the 
performer stands in a suitable position beside or be¬ 
hind the table, and drops, say, a watch, into the 
mouth of the pocket, it will travel down the tube, 
through the hole, and into the net. It is, however, 
essential that the position of the foot be absolutely 
correct, as otherwise the watch might fall on the stage 
instead of through it, with results unpleasant to all 
parties. The right position is secured by having three 
wire nails driven into the floor, with the last half-inch 
(or less) of their length projecting above it, one for the 
back of the heel, the others for the outer edge of the boot 
to rest against. With these as guides, the performer can 


8 


Later Magic 


in a moment ascertain by feel the exact position for the 
due working of the arrangement. If it is desired after¬ 
wards to move the table, the hole can be closed by the 
assistant from below by a hinged trap, secured by a 
turn-button. The best form for the net is conical, as 
by adopting this shape the shock of the fall (in any 
case very slight) is reduced to a minimum. 

It is hardly necessary, I presume, to caution the 
reader against supposing that the garments of even the 
most thoroughgoing professional are provided with all 
the special appliances I have mentioned. Complica¬ 
tion naturally leads to confusion. The best plan, and 
the one usually adopted, is to start with only the 
regulation pochettes and profondes; and as the per¬ 
former enlarges his programme, to add such other con¬ 
veniences as he may find needful for the presentation 
of new items. 

THE SHIRT-CUFFS. 

The sleeve has from time immemorial had the credit 
of being an accomplice of the conjurer, but hitherto no 
breath of suspicion has tarnished the white surface of 
the shirt-cuff. Its good name is, however, no longer 
entirely deserved, for the ingenuity of the up-to-date 
wizard has pressed even the innocent wrist-band into 
the service of deception. 

The conjurer is about to vanish, say, some small 
object. That there may be no question of “up his 
sleeve, he bares his arms to the elbow, first, however, 
removing his shirt-cuffs, which are of the detachable 
kind, and placing them carelessly (?) on the table, the 
one standing on end, the other lying down, so that all 
can see through it. Having transferred the article to 


Later Magic 


9 


be vanished (apparently) from his right hand to his 
left, he with the right hand puts the upstanding cuff 
a little to one side, as if merely to get it out of his way, 
and in so doing, secretly drops the palmed article 
therein. It is not heard to fall, neither is it seen on the 
table when the cuff is again picked up, but passes 
silently back into the possession of the performer. 

There are two ways of adapting the shirt-cuff for 
this purpose. In the first, an oval flap is hinged to 
the stud which fastens the cuff, and by the pressure of 
a spring is impelled, when the cuff is not in use, to 
take the position shown in Fig. 5. When the cuff is in 



Fig. 5. 


wear, the spring yields, and the flap lies flat against the 
side, as shown by the dotted lines in the same figure. 
With this explanation, the working of the arrangement 
becomes obvious. When the cuff is taken off and 
placed on the table, the flap, which is lined on the 
upper side with some soft woolly material, takes the 
position shown in the diagram, and the article drops 
into the cavity thus created. When the performer 
again picks up the cuff, he does so with the fingers 
inside and thumb outside, and so at once regains pos¬ 
session of the article. 







o 


Later Magic 


The alternative mode of construction is a little more 
complicated. Round the inner circumference of the 
cuff, at its centre, is a band of thin brass. Pivotted 
to the button, which is of the solitaire kind, and to the 
opposite side of this band, is a half-ring of stiff wire, 
which, by giving a half-turn to the solitaire, may be 
brought to the one side or the other. To this half-ring, 
and to the opposite half of the circular band, is sewn 
a little cup-shaped worsted net. When the cuff is in 
wear, the stud is so turned as to throw the moveable 
semicircle over against that portion of the band to 
which the net is attached, in which condition the net 
lies flat against the side of the cuff, and presents no 
obstacle to the insertion of the wrist. When removed 
from the arm, a half-turn of the stud in the opposite 
direction expands the net, which is thereby spread 
across the whole of the internal space, and the appara¬ 
tus becomes ready for use. 

Before quitting the subject of the shirt-cuff, and by 
way of relief to the monotony of preliminary instruc¬ 
tions, I may take the opportunity to describe a very 
effective little trick, in which the unprepared shirt-cuff 
plays a highly important, though unsuspected, part. 
The only conditions are that it must be of such a size 
as to slip easily over the hand, and that (as in the case 
of the mechanical shirt-cuff) it must be fastened, not 
by links, but by a single stud or solitaire, so that its 
shape when in use shall be cylindrical. 

The effect of the trick is to vanish a glass of water 
from under a handkerchief. In the old method of 
producing this effect, as the reader is doubtless aware, 
the performer was obliged to use a special handker- 


Later Magic 


11 


chief of his own, and a servante, in some shape, was 
necessary for the removal of the glass. In the form of 
the trick I am about to describe neither servante nor 
prepared handkerchief is necessary, the trick being per¬ 
formed literally without apparatus. 

The performer, having borrowed a hat, places it on a 
table at some little distance. Then holding up in his 
right hand a tumbler three parts full of water, he an¬ 
nounces that he is about to pass it into the hat, and 
asks whether he shall do so visibly or invisibly. Pre¬ 
sumably with the idea that they will find out the more 
easily “ how it’s done,” spectators always answer “ vis¬ 
ibly” to this question. “Good!” he says. With his 
left hand, he takes the glass, grasping it overhand {i. e., 
with thumb and fingers encircling the rim from above, 
as in Fig. 6), and gently lowers it into the hat (at the 



Fig. 6 . 


same time secretly letting the shirt-cuff slip over the 
hand, and settle down round the glass). There is a 
general laugh, the audience feeling that they have been 
“sold.” “That ’s the way to do it visibly,” he says; 
“simplest thing in the world,—you just drop the glass 
into the hat. Any foo—fellow, I mean,—can do that. 
Now I will do it invisibly, which you will find is a much 


12 Later Magic 

neater method. Will somebody lend me a handker- 
chief?” 

A handkerchief having been procured, he spreads it 
over the hat, and then dipping the right hand into the 
hat (holding the hand in the same position as before) 
he brings up, apparently, the glass within the handker¬ 
chief. (See Fig. 7). As a matter of fact it is the 



shirt-cuff only that he brings up therein, the glass re¬ 
maining in the hat. With pretended precaution, as 
though afraid of spilling the water, he introduces 
the left hand under the handkerchief, as if to grasp the 
glass. In reality he passes-the hand up within the 
cuff, taking care that the lower edge of the latter shall 
be fairly within the coat sleeve. Then saying, “One, 
two, three, go!” he lets the cuff sink down to its normal 
position, and with the right hand shakes out the hand¬ 
kerchief in the direction of the hat, where the glass of 
water is in due course found. 

THE HAT. 

One or two ways in which a tall hat may be adapted 
for magical use were noted in More Magic , but their 


Later Magic 


13 

utility is discounted by the necessity of using the con¬ 
jurer’s own head-gear, a proceeding naturally giving 
rise to suspicion. The little appliance which I am 
about to describe is not open to that objection. 



Fig. 8. 

The apparatus in question (Fig. 8) consists of an 
oval disc of pasteboard, a a (in size a little less than the 
crown of a hat), to which is attached, by means of a 
hinge of cloth or leather, an upright partition, b. 
Though shown upright in the diagram, this partition 
normally lies flat on a a, folding at pleasure either way. 
The whole apparatus is best covered with black silk, in 
order to diminish friction. In its flat condition is it 
tucked under the performer’s vest. In returning with 



a borrowed hat to his table, he introduces the “fake”; 
a a adapting itself to the shape of the crown, while b, 
having no longer room to lie flat, rests in a sloping 






Later Magic 


14 

position against the back or front, as shown in the 
sectional view, Fig. 9. The hat is thus divided into 
two compartments, c , d , which will be open or closed, 
according as b is tilted to the one side or the other. 

Any light object being now placed in the hat natur¬ 
ally falls into the side for the time being open (in the 
diagram, c). When the performer, in the course of 
the trick, desires to show that the object has disap¬ 
peared, he has only to tilt b over to the opposite side 
as shown by the dotted line (closing c and opening d ). 
He then grasps the hat with the fingers inside (thereby 
keeping b in position) and turns it over, the fact that 
nothing falls out being proof positive, according to 
conjurer’s logic, that the hat is empty. By reversing 
the process, the article may be made to return to the 
hat, or, by slightly modifying the procedure, one article 
may be “changed” to another. 

It may be worth while here just to mention another 
change by means of a hat, which was used by the late 
Dr. Lynn in connection with a “dove” trick. The 
dove, wrapped in paper, was changed, if I remember 
rightly, into a bouquet similarly covered. The bouquet 
parcel, enveloped in a wig, is placed under the left arm, 
inside the coat of the performer. This we will call 
parcel No. 1. He begins by asking the loan of two 
hats, and while the second is being handed up, “ loads” 
the first with the wig and its contents. The wig he 
presently produces from it: the parcel contained 
therein remaining in the hat. The performer having, 
in the course of the trick, wrapped up the dove so as 
to form a similar parcel (this we will call parcel No. 2), 
places it in the same hat, while he asks a volunteer 


Later Magic 


15 


assistant to hold it, with both hands, mouth upwards, 
on his head. Presently he tells the assistant that he 
has the wrong sort of head, and may perhaps be able 
to hold the parcel better without the hat. He ac¬ 
cordingly takes out the parcel (really No. 1) and gets 
him to hold this on his head in place of the hat, which, 
with parcel No. 2, is put aside to be cleared by the 
assistant (under pretence of brushing and returning) at 
the first opportunity. After a little more patter the 
visible parcel is opened, and the contents are found to 
have changed in accordance with the intention of the 
trick. 

The second hat is placed, when received from the 
lender, for a moment or two mouth downwards over 
the first. Of course this makes not the slightest differ¬ 
ence, and this hat might very well be dispensed with, 
being merely borrowed to facilitate (by distracting 
the attention of the spectators) the loading of the first 
hat. 

It can hardly be claimed for this change that it is 
highly artistic, but on the other hand it has the ad¬ 
vantage of being remarkably easy. 


CHAPTER II. 


APPLIANCES AND EXPEDIENTS OF GENERAL 
UTILITY. 

N OT only in the adaptation of his dress to magical 
ends, but in the greater variety of his tools, and 
in the ingenuity of his expedients, does the wizard of 
to-day “ go better” than his compeer of the last century. 
Before proceeding to the description of specific tricks, 
I think I cannot do better than give some account of 
these more up-to-date devices. 

VARIOUS FORMS OF THE “SERVANTE.” 

The tendency of modern conjuring is to do away, as 
far as possible, with the idea of mechanical aids. To 
that end, the wizard of to-day endeavours to avoid any 
suggestive appearance about his stage. The centre 
table, in particular, behind which the acute spectator 
had learnt to know or suspect the existence of a hidden 
receptacle, is no longer fashionable. But the servante, 
in some shape or other, is still a necessity, the only 
alternative to its use being an excessive amount of 
“pocket” business, which is quite as undesirable as too 
frequent retirement behind the table. Accordingly, 
the ingenuity of performers has been largely directed 
to the improvement or disguise of the servante, or the 
discovery of adequate substitutes for it. 

16 


Later Magic 


17 


BAG SERVANTES. 


The idea of the “bag” or “net” servante, alluded to 
in More Magic (p. 6 ) as a novelty, as at that time it 
was, has since been developed to a remarkable extent. 
This class of servante is now produced in a host of 
different forms, as may be gathered from the annexed 
diagrams, representing a few only of its varieties. 
Figures 10 and 11 are designed to receive small articles 




Fig. 11. 


Fig. 10. 


only, and are placed in position by thrusting the wire 
arms into small screw-eyes, fixed in the under side of 
the table top. As the screw-eyes have to be fixed be¬ 
forehand, and as the average householder is apt to 
object to having gimlet-holes bored in his furniture, 
this method of fixing is practically restricted to tables 




Fig. 12. 


Fig. 13. 


belonging to the performer himelf, or to very accom¬ 
modating friends. Fig. 12, which has a gimlet-pointed 















18 Later Magic 

screw of its own, is open to the same objection. A 
couple of needle-points 1 may however be pressed into 



Fig. 14. 


Fig. 15. 


any hidden part of even the handsomest table without 
injuring it, and this is the mode of fixing adopted in 
the case of the servantes represented in Figs. 13 and 



14. Fig. 15 is provided with a flat tongue, which may 
be thrust into the opening of a table drawer. Nos. 16 

1 It may be well to explain that the needle-points here referred 
to have no connection with sewing needles. They are of plain 
steel, eyeless, about two inches in length, and the thickness of a 
carpet needle. Their normal function (apart from conjuring) is 
the attachment of mouldings of wood or composition to picture 
frames and the like. A hole is first bored, with a fine awl, in the 
object to be affixed, and the needle-point is then driven by means 
of a hammer through the hole till it projects as far as need be for 
the specific purpose on the opposite side. So much as remains 
projecting of the butt end of the needle is then broken off flush 
with the surface of the wood. Needle-points are procurable in 
small packets of any ironmonger. 










T 9 


Later Magic 

and 17 are adapted for attachment to the back of a 
chair, the former by means of hooks going over the 
back rail, the latter by pressing two needle-points or 
good-sized drawing-pins, through the holes shown in 
the upright slips, into the wood. 

I have recently seen, at the depot of Messrs. Hamley 
Brothers, a new form of portable servante, as illus¬ 
trated in Fig. 18. Here a a a a represents an oblong 



a cl 

Fig. 18. 


frame (about six inches by four) of stiff wire. To one 
of the larger sides of this are soldered two uprights, 
b 6, two inches in height, and from each of these pro¬ 
jects two needle-points, one at top, one at bottom. The 
two upper points should slope very slightly downwards , 
and should be first inserted in the wood, the lower 
points being then pressed home. A servante thus fixed 
will bear a very considerable amount of weight. To 
remove it the lower points must be drawn out first. 

The open space between the four corners a a a a is 
filled by a tightly stretched piece of black calico, or 
woollen network. This is omitted in the diagram, be¬ 
cause its insertion would have obscured the essential 
point, the mode of fixing. 

Fig. 19 represents a chair servante specially adapted 
for “changing” a pack of cards. The prepared pack 
is held, as shown, in a spring clip. In the act of moving 
the chair backwards or forwards, the performer rests 






20 


Later Magic 


his hand for a moment on the back. In that moment 
he drops the pack he has been using into the circular 



Fig. 19. 


bag, and grasps in its place the prepared pack. A re¬ 
cent improvement consists in hingeing the ring of the 
bag to the clip, so that, when not in use, they may be 
folded together for greater portability. 

THE “PREMIER” SERVANTE. 


Figs. 20, 21, and 22 illustrate a new and ingenious 
form of chair servante, listed by Messrs. Hamley as 



Fig. 20. Fig. 21. Fig. 22. 

the “ Premier.” This has sundry special recommenda¬ 
tions. It is of the “bag” variety; in shape oblong, 






21 


Later Magic 

and made of black cloth, stretched on a wire frame. 
Its most striking feature is that the bag has a lid, also 
of cloth tightly stretched, which may be raised or 
lowered at pleasure. When lowered, as in Fig. 20, 
(thereby closing the bag), its upper surface in itself 
forms a flat servante, on which any article may be 
placed. When an object is to be got rid of by dropping, 
the “lid” is raised, as in Fig. 21, a catch keeping it 
from again falling, and so giving access to the “bag” 
portion. This servante can be raised or lowered rela¬ 
tively to the height of the back of the chair, and when 
not in use can be folded flat for packing, in which 
condition it takes the shape depicted in Fig. 22. 

Where the chair used has an open back, it would 
seem impossible to adapt a servante to it, but the 
difficulty is only apparent. By throwing a shawl or 
large handkerchief over the back of the chair, the 
presence of the servante is effectually masked. 

Apart from the “screw” and “hook” arrangements, 
there is another possible way of attaching a servante, 
which seems to me to have special recommendations, 
though I have not submitted it to sufficient practical 
test to be able to speak with absolute confidence as to 
its value. I refer to the “ sucker” arrangement so fre¬ 
quently used for suspending light articles to the inside 
of shop windows. This is a little red rubber cup, to 
the outside of which is attached a hook. The rubber, 
previously moistened, is pressed against the glass, so 
as to force out the air from within, when it remains 
firmly attached, being maintained by atmospheric 
pressure. The same thing happens if it is pressed 
against any highly polished surface, as, for instance, the 


22 


Later Magic 


back of a chair, or the frame of a table. I should not 
be disposed to rely on a single sucker, but to fix two of 
them into a little wooden slab, measuring say three by 
one and one half inches, and an inch thick. The screw 
or needle-point of the servante might then be inserted 
in this (or the servante attached directly to it); one or 
more of such slabs being used, and so placed as might 
be most suitable for the particular purpose. 

It will be seen later on that the pneumatic sucker has 
been made useful to conjurers in other ways, but I am 
not aware that any one has yet used it for the support 
of the servante. 

Where a glass filled with water has to be got rid of, 
the “ bag ” is made of India rubber or other waterproof 
material, while in other cases the bag portion of the 
servante is dispensed with altogether; as, for instance, 
where the object to be supported is a billiard-ball or 
cannon-ball, when what is known as a “ring” servante 
(see a in Fig. 23) of appropriate size is all that is 



necessary. In billiard-ball tricks an open ring, as b in 
the same figure, is preferable, the ball being more easily 
got hold of. To ensure noiselessness in use, the ring 
should be covered with some soft material. 

In some cases the object needs only to be suspended, 
in which case a hook, preferably of the kind known as 




23 


Later Magic 


a cup-hook (Fig. 24) may answer the purpose. Two of 
such hooks fixed at an appropriate distance will serve 



Fig. 24. 


to support an object of considerable length; ranging 
from a wand to a sunshade or umbrella. Or, in place 
of hooks, the article may be supported on a straight pin 
or pins, fixed so as to slope slightly upwards. The 
outer end of the pin may be sharp or blunt, according 
to the purpose for which it is- to be used. Thus, if it 
be desired to impale on it an orange, or a handkerchief 
rolled into a ball, the sharper it is, the better; if merely 
intended to hang something on by means of a loop, the 
point may be as blunt as you please. 

As regards the mode of attachment, the pin or hook 
may either be fixed on a wooden base, from the opposite 
side of which project a couple of needle-points, to be 
pressed against the wood of the table or chair, as in Fig. 
25, or the base may be of tin or thin brass with a couple 



Fig. 25. 


of small holes in it, as Fig. 26. A couple of good-sized 
drawing-pins are pressed through these holes into the 




24 


Later Magic 


wood, and all is secure. Two converging pins, one 
above the other, as a in Fig. 25, make a still more 
substantial fixture. 



Fig. 26. 


Where a light object is to be suspended by means of a 
loop of thread or wire, a drawing-pin, driven half-way 
home, will be all that is necessary to support it. 


THE REVOLVING SERVANTE. 


One of the latest ideas in this department is a 
“ revolving” servante; the invention of Mr. Hal. 
Merton, an ingenious American performer. It is in¬ 
tended to form part of one of the familiar round tables, 
with fringed cover, frequently used as a side table. 
It is in three parts, a (see Fig. 27), is a small metal 
disc permanently attached to the under surface of the 
table-top, near its hinder edge, and having in its centre 
a female screw, b is a metal rod, with thread tapped 
to correspond at top, and a button at bottom, c c is 
the servante proper, a circular disc of wood, three 
quarters of an inch thick, and ten inches, or thereabouts, 
in diameter, with a hole in its centre large enough to 
receive b. To fix it, b is passed through c, from below, 
and its upper end is screwed into a, the servante being 
thus suspended from above. It is obvious that when 


25 


Later Magic 

the side for the time being projecting at the back has 
been utilized to produce or disappear a given object, a 



Fig. 27 


mere touch will cause the servante to revolve to any 
desired extent, and so make a fresh portion of its sur¬ 
face available for use. 

It is claimed for this servante that it has the ad¬ 
vantage of combining an unusually large amount of 
working space with a very small amount of projection 
from the table. It has the further recommendation of 
being attached and removed with great facility. How 
far it will in other respects meet the test of practical 
experience has yet to be determined. 

THE VEST SERVANTE. 

The growing desire of performers to be independent 
of any special table, and at the same time the obvious 
objections to a too frequent recourse to pockets, almost 
naturally suggest the inquiry, “Cannot the open front 
of the vest be made available for the disappearance 
of small objects?” The first wizard to answer the 













26 


Later Magic 


question in any practical way was, to the best of my be¬ 
lief, my friend Mr. David Devant, who invented and 
has used for many years past a very effective form of 
vest servante. 

Mr. Devant’s contrivance consists of an oblong plate 
of zinc, ten inches by seven, covered with cloth, and a 
tube of sheet-iron or gun-metal, four and one half inches 
long, pressed into an oval form, its longer diameter be¬ 
ing four inches and its shorter two and one half inches. 
This is covered in like manner, and the cloth is con¬ 
tinued below the tube to a depth of three inches, and 
closed at bottom, forming a bag wherein articles may 
fall noiselessly. 



The plate is first placed in position, across the lower 
part of the shirt-front within the vest. This indeed 
may be worn all the evening without inconvenience. 
The tube is then inserted between this and the shirt- 
front, the lower part passing inside the waistband of the 
trousers. (See Fig. 28, in which the dotted lines show 










Later Magic 


27 


the apparatus in position, a representing the tube, and 
b b the covered zinc plate. The slight abnormal pro¬ 
jection of the vest attracts no inconvenient notice.) 

Mr. Devant himself uses the appliance more par¬ 
ticularly in connection with handkerchief tricks (to 
receive the false finger, or a rolled up handkerchief). 
But it is equally available for vanishing small balls, 
cards, or other articles of appropriate size. 

Another form of vest servanteis a speciality of Messrs. 
Hamley Brothers, who list it in their catalogue as “The 
Wonder of Wonders.” It is in any case a very in¬ 
genious and well-thought-out appliance. 

It consists of a belt one and a half inches in depth 
encircling the body under the vest. (See Fig. 29, giving 



Fig. 29. 

a view of the apparatus in its normal condition.) The 
hinder half, a a, of this belt is of leather, secured at 
back by a buckle, b. The forward half consists of 
two bands of nickelled steel, d d d and € c c, the latter 
lying in front of the former, c c are wire loops con¬ 
necting the leather and the metal portions, f is a 
hinge, connecting the two steel bands, but allowing 
them to be separated at pleasure, g is a sleeve, hold¬ 
ing them together at the opposite side, but allowing 





28 


Later Magic 


eee to slide over ddd. The latter, which in use re¬ 
mains immovable, (practically forming part of a fixed 
belt), is slightly flattened in the centre. As the outer 
band is not thus flattened, there remains between them 
a space, plano-convex in shape, four inches in length 
by half an inch at its greatest breadth. By pushing the 
knob h towards the centre, the outer band is forced to 
assume a more decided convexity, at the same time 
diverging, throughout its length, from the inner band. 
The distance between them at the centre may be 
thus increased as far as the encircling garments will 
allow, say, up to two inches (see Fig. 30.) Sewn to 



the lower edges of both bands, across a space of nine 
inches in width, is a shallow bag of black net, or silk, i , 
forming a receptacle for objects dropped within the 
vest. When the appliance has served its immediate 
purpose, a finger inserted under the vest at the left 
side draws back the knob h, and the outer band 
returns to its original unobtrusive condition. 

THE CONJURER’S CIGAR-BOX. 

As a substitute for the servante, and indeed for many 
of the purposes of the conjurer, a cigar-box will be 
found to be of material assistance, particularly in an 
extempore “show.” So familiar an object excites no 








2 9 


Later Magic 


suspicion, but the conjurer’s cigar-box is not always 
quite so innocent at it looks. Herr Willmann, of 
Hamburg, a gentleman to whom the magical world is in¬ 
debted for many useful inventions, has devised a cigar- 
box which, though of perfectly ordinary appearance, is 
in truth elaborately “ faked ” for the service of the con¬ 
jurer (see Fig. 31). The very label on the lid is a delu- 



Fig. 31. 


sion, being in fact a small trap, hinged at one end. 
Behind the box, if desired, is attached by means of a 
couple of needle-points, a net or other servante, and 
the interior of the box is padded so that any article 
passed through the trap shall make no noise in falling. 

Another form of cigar-box is specially designed for 
“changing” small objects. The box has the bottom 
removed from its normal position, and replaced an inch 
or so higher up. Room is thus left above it for a couple 
of rows of cigars, while the space below forms a tem¬ 
porary cover for the article which it is desired to ex¬ 
change. Thus, suppose that the performer desires to 
exchange an ordinary pack of cards for a prepared one. 1 

1 I myself many years ago arranged a small box on the same 
principle, for this specific purpose. The box was of cardboard, 
and externally of such a size as just to accommodate three packs 




30 


Later Magic 


When it is desired to effect the change, the performer 
lays the unprepared pack close beside the box under 
which the prepared pack lies hidden. Presently, under 
cover of his own body, or of some other object, he care¬ 
lessly lifts the box, as if merely to put it out of the way, 
and in so doing places it over the unprepared pack, the 
concealed pack being thereby exposed in its place. As 
he has beforehand shown, in a casual way, that the box 
contains cigars, no one is at all likely to suspect any 
preparation or contrivance about it. 

At a smoking concert, or similar entertainment, the 
presence of a cigar-box is perfectly natural. Where it 
is necessary to find some special pretext for its intro¬ 
duction, it may be brought forward from a side-table to 
stand something on, say a tumbler or a billiard-ball, 
professedly that the spectators may have a better view 
of the object. Even an unprepared box of cigars may 
on occasion come in usefully, as the space behind it on 
the table forms a natural servante, a folded handker¬ 
chief supplying the necessary padding. 

Apropos of the trap in Herr Willmann’s cigar-box, I 
may pause to describe a little arrangement of my own 
in relation to such traps, which will be of special in¬ 
terest to the many amateurs who take a pleasure in 
manufacturing their own apparatus; though, be it said, 
I by no means commend the practice for general adop¬ 
tion, home-made apparatus, unless of the simplest kind, 
being usually very inferior to the purchased article. 

of cards, one above the other. The bottom, however, was only 
two thirds of the way down, the third (prepared) pack being con¬ 
cealed underneath this and being exchanged for one of the others 
as above described. A rubber band round the box kept all snug 
until it became necessary to use it. 


Later Magic 


3i 


In a regular conjuring-table, traps are, as a matter 
of course, made of metal, but in a home-made table or 
in a box, as described in More Magic (p. 7), designed to 
take the place of a table, the amateur will find wood a 
better material for the traps, and rubber bands the 
best form of spring. Fig. 32 illustrates the external 



appearance of the box used by myself. It will be seen 
that its surface is divided, by incised lines, into squares, 
ostensibly by way of ornament. As a matter of fact, 



Fig. 33. 


however, one of the squares is a trap, whose construc¬ 
tion may be gathered from an inspection of Figs. 33 














32 


Later Magic 


and 34, the former representing the interior of the 
box with the trap closed, the latter the trap itself, 
open. The flap is attached, by two hinges, a a, to the 



under surface of the lid, the crosspiece b b , which is 
screwed to the flap, precluding any possibility of its 
rising too high. The upward pressure necessary to 
keep it in position is afforded by the tension of a rubber 
band, b , on each side, slipped over the heads of two 
ordinary round-headed screws. Of course such bands 
require frequent renewing, but, on the other hand, they 
cost practically nothing. They have the advantage of 
working in the gentlest and most noiseless way, and 
their tension can be adjusted to a nicety, by due regard 
to the size and width of the bands used. The little 
wire bolt, c, keeps the trap securely closed when not 
needed for immediate use. A drop flap, which may 
or may not have gussets at the sides, forms a con¬ 
venient servante. 

The servante shown in the illustration is made to 
draw out a little way, so as to increase its available 
area. 

The handle for carrying the box is fixed on the 
“hinge” side, which in use is turned towards the spec¬ 
tators. If of the sunken kind, there is no objection to 






Later Magic 


33 


its being placed in the centre of the lid, the trap being 
shifted a little more to the right or left, but the former 
position of the handle makes the box more convenient 
for carrying. 


IMPROVED “ PULLS.’ 


Readers of More Magic may remember that under the 
title of “The Wandering Ring” (p. 196) a trick was 
described involving the use of a spring pull; whereby 
the ring was secretly transferred (vid the coat sleeves) 
from the left hand into the right. In connection with 
appliances of general utility, it will be worth while to 
call the attention of the reader anew to this little con¬ 
trivance, which, in its up-to-date forms, not only is 
more perfect in detail, but finds a considerably ex¬ 
tended sphere of usefulness. 

As to the first of these improved forms, I cannot do 
better than quote, with a little amplification, the de¬ 
scription given by Herr Willmann in his Moderne Salon 
Magie. 

Within a cylindrical brass drum (see Fig. 35) is fixed 



Fig. 35. 


a spring barrel, round which is coiled a catgut line, a, 
and which is wound up by drawing out this line. To 
one of the faces of the barrel is attached a ratchet 
wheel, between the teeth of which a pall, attached to 


34 


Later Magic 

the upper end of the spring, b, can be inserted, but is 
again withdrawn by pressing e (which is a movable 
arm, pivoted against the face of the drum) towards b. 
The outer end of e is wedge-shaped; and this being 
forced under the end of b the pall is lifted and the 
barrel released. To the free end of the gut line is at¬ 
tached a pair of spring nippers, c , which, when the 
apparatus is not in use, rest partially within the mouth 
of the funnel-shaped tube, d. A spring between the 
shorter arms of the nippers keeps their jaws closed so 
long as they are clear of the tube, but so soon as the 
shorter arms are drawn within it, these are pressed 
together by the sides of the tube, and the jaws open. 

The full length of the gut line is about five feet. It 
may be drawn out to this or any less extent, and fixed 
at that point by means of the pall. The apparatus 
thus arranged is placed for use in the trouser-pocket 
on the right side. The line is carried across the back 
and down the left sleeve, the nippers hanging in the 
neighbourhood of the wristband. 

The performer desires, say, to vanish a silk handker¬ 
chief. He takes it by the centre, letting the four 
corners hang down, and transfers it by the part he 
holds to the left hand. This hand meanwhile has got 
possession of the little nippers, and, by pressure on their 
shorter arms, has opened their jaws, between which he 
inserts the centre of the handkerchief. The moment 
he releases the pressure of the fingers the jaws close, and 
the handkerchief is held securely. The performer now 
places his right hand in the trouser-pocket, and presses 
e under 6, thereby withdrawing the pall and causing 
the barrel to wind up the gut line. Meanwhile, standing 
with his left side turned towards the spectators, he 


Later Magic 


35 


slowly waves the left hand about, and while apparently 
merely gathering the handkerchief into the hand, 
allows it gradually to be drawn through the hand up 
the sleeve. As soon as it is quite free, the pull draws 
it across the back into the pocket. By elevating the 
arm, and so allowing the line to run freely, or by press¬ 
ing the arm to the body, and thereby checking it, the 
speed at which the pull operates can be regulated at 
pleasure. 

The performer continues the rubbing away move¬ 
ment of the left hand for a moment or two after it is 
actually empty. Meanwhile the nippers have been 
pulled home into the tube d, when the jaws open and 
release the handkerchief. The performer may then 
produce it from his pocket with the right hand, the left 
being shown empty. 

The working of the trick as above described enables 
the conjurer to have the handkerchief marked by the 
spectators in any way they please, so as to negative 
any idea of substitution. 

The apparatus may equally well be used to cause a 
ring to travel from one hand to the other, as described 
in More Magic. The trick in question is so exception¬ 
ally effective that, for the benefit of readers who may 
not possess that book, I here reproduce it, in a slightly 
altered form. 

The performer, with the apparatus arranged, as above 
mentioned, in the right trouser-pocket, and with the 
nippers secured between the fingers of the left hand, or 
with their jaws closed on the shirt-cuff, borrows from 
different persons a couple of rings, the more excep¬ 
tional in appearance the better. Showing a number of 


36 


Later Magic 


short ends of narrow ribbons of various colours, he in¬ 
vites a third person to choose one of them, and there¬ 
with to tie the two rings together. Under pretence of 
examining the knot, he engages the ribbon in the 
little nippers, the cord, still slack, passing along the 
under side of his wrist. 

With due precaution against any tell-tale exposure 
of the nippers, he shows the rings, held between the 
tips of the fingers and thumb. “These are the rings 
you lent me, are they not? I close my hand upon 
them, so. Now you would imagine that so long as I 
keep my hand closed, and you keep your eyes on my 
hand, the rings could not possibly escape from it. But 
you would be mistaken. However closely you may 
watch my hand, the rings will leave it, and find their 
way into this pocket.” He thrusts the right hand for 
a moment into the trouser-pocket, as if merely to show 
which pocket he is referring to, and in that moment 
presses the little lever which releases the pull. “All I 
have to do is to dematerialize them, which I do by 
means of a little friction.” With the fingers of the left 
hand he makes a rubbing movement, and under cover 
of such movement, lets the rings escape up the sleeve. 
A moment later he shows the hand empty; and pro¬ 
duces-the rings from the pocket on the opposite side, 
as previously announced. 

Where the article vanished by the pull is not to be 
immediately reproduced, a different arrangement is 
sometimes adopted, the apparatus being attached by 
means of a belt to the waist of the performer behind his 
back, underneath the coat; the mouth of the tube d 
being directed to the left armhole. The barrel is in 



Later Magic 


37 


this case started by means of a subsidiary pull, a piece 
of fine black cord attached to e, thence passing through 
a hole in the central screw, and finally brought round 
the right side, and attached to one of the front brace- 
buttons. By allowing the hand to rest for a moment 
on the hip (a perfectly natural position) the performer 
is enabled to get hold of the cord, a very slight tighten¬ 
ing of which suffices to start the pull. This arrange¬ 
ment admits of the employment of a larger and stronger 
apparatus than could well be used in the pocket. 

THE “LIGHTNING” VANISHER. 

Another excellent mechanical “pull, ” for the know¬ 
ledge of which I am indebted to the courtesy of Messrs. 
Hamley, goes by the above name. In principle it is 
practically identical with that last described, but the 
two differ in many points of detail. Fig. 36 illustrates 
what may be called the front view, and Fig. 37 




the back view, of the apparatus, which is of brass, 
handsomely nickel-plated. The drum, clock-barrel, 





38 


Later Magic 


cogwheel, and catch are retained, but the latter is 
withdrawn by pressure on a lever, a, and the line is 
not of gut, but whip-cord with a gut loop. 

The vanisher is placed in position by means of a 
horseshoe-shaped wire loop, bb, for the reception of 
which a special pocket is made in the vest, outside, 
close to the right armhole; the side shown in Fig. 37 
being next the body, and the lever, a, resting just 
within the armpit. In this position, a very slight pres¬ 
sure of the arm against the body depresses the lever 
sufficiently to withdraw the catch and release the 
pull. The tube c comes just within the sleeve, at the 
armhole; and the cord, which is in this case only about 
two feet long, passes, on leaving the tube, through an 
inch length, of soft rubber, d , which acts as a buffer on 
its return, the pull in this case being designed to act very 
rapidly. The spring is therefore made very strong, 
and brings back the cord with great energy. The cord 
is knotted on the outside of the rubber, which breaks 
the violence of the shock. 

The special object of this pull is to instantly vanish 
a handkerchief; though it may of course be made 
available for other purposes. For this particular use, 
however, the nippers described in connection with the 
other pull are dispensed with, and replaced by a simple 
loop of thin gut, about six inches in length. The 
handkerchief to be vanished is secretly passed through 
this as far as the middle, and doubled in half. If it 
then be held loosely in the hand, and the pull released, 
it flies up the sleeve with the rapidity of a lightning- 
flash. 

This appliance is frequently used in connection with 
the very popular trick of vanishing a silk handkerchief 


Later Magic 39 

from a glass lamp-chimney held between the two 
hands. 1 

While upon the subject of “ pulls” I must not omit to 
mention one or two little modifications which may fre¬ 
quently be made with advantage in the direct or non¬ 
mechanical pull. The reader will doubtless remember 
that in the case of the “Buatier” pull, which was the 
first of this class, one end of the cord was secured to the 
left wrist, whence it passed up the sleeve, across theback, 
and down the right sleeve, where it terminated in a 
little cylindrical cup, for the reception of the handker¬ 
chief or other article to be vanished. A valuable addi¬ 
tion to this form of pull is a piece of flesh-coloured silk 
thread, about twelve inches, or a trifle more, in length, 
the ends of which are attached to the edge of the cup, 
at opposite sides. The loop thus formed is passed over 
the second or third finger. At the proper moment the 
second finger of the opposite hand is passed under this 
loop; and by a slight forward movement, draws the 
cup into the hand, where it is forthwith palmed for use 
as may be desired. 

So far, however, as the mere disappearance of hand¬ 
kerchiefs is concerned, the cup may be altogether dis¬ 
pensed with, the pull consisting merely of a piece of 
stout silk thread. At one end of this a running loop is 
formed, and this is attached to the right shirt-cuff. 
The cuff must be one of the two-stud kind, and the 
loop drawn over both studs, the two keeping the loop 
so far distended as to admit of its instant detachment. 
From the cuff the thread passes up the right sleeve, 
across the back next to the shirt, and out of the left 

1 See post , “Handkerchief Tricks.” 


40 


Later Magic 


armhole of the vest, the end being attached to the 
hinder brace-button on that side, but sufficient slack 
being left to form a short hanging loop just below the 
vest. Thus arranged, the thread creates no obstacle to 
the freest movements on the part of the performer. 
When the pull is needed for use he releases the running 
loop, by the aid of the opposite thumb, from the two 
studs, and passes it over the second and third fingers. 
In the course of his patter it is an easy matter to pass 
the handkerchief as far as its centre within the loop, 
after which the fingers are withdrawn, the handker¬ 
chief remaining in the hand. The thumb of the left 
hand being now inserted in the bight of the silk thread 
on the opposite side, a quick downward movement 
draws it tight, and causes the handkerchief to vanish 
up the sleeve. 

It will be found desirable to use thread of two colours, 
flesh-colour for the running loop, and black at the op¬ 
posite end, joined at some intermediate point. 

It will be obvious that the running loop and stud ar¬ 
rangement is equally applicable to a rubber pull. 

GUIDES, FOR USE WITH PULLS. 

In connection with pulls, I may here mention a little 
contrivance which has been recently introduced for 
keeping the cord in the way it should go, and, theo¬ 
retically, for making the pull work more easily and 
certainly. It consists of a brass tube of not quite 
an inch in length and one quarter of an inch out¬ 
side diameter, mounted on a circular flange of the 
same metal, as shown in Fig. 38. The little holes 
in the metal plate are to enable it to be sewn to the 


Later Magic 


4i 


performer’s vest, in such position as may best suit the 
purpose in view. 

The contrivance is well intended, but, in the form 



Fig. 38. 


above described, its utility is extremely questionable. 
If the direction of the cord is through it in a straight 
line, a guide is obviously unnecessary. If, on the other 
hand, the cord enters or leaves the tube at an angle, 
friction must necessarily be created, varying in degree 
as the angle is more or less acute. If such a contri¬ 
vance be necessary, a better form would be as shown in 
Fig 39, the cord passing between two grooved wheels, 
mounted between two slips of brass, 
chamfered as to their inner edges, and 
placed so close together that there would 
be no possibility of the cord jamming. 

Personally, however, I have found ex¬ 
cellent results from a much simpler 
contrivance, viz., a ring of polished ivory, 
half an inch in external, and a quarter of 
an inch in internal diameter, stitched to 
the garment with due regard to the direc¬ 
tion of the cord. In default of ivory, 
a similar ring of bone or brass may be used with very 
little sacrifice of practical effectiveness ; but ivory 
is the ideal material where friction is to be avoided. 

Another ingenious anti - friction contrivance, in- 








42 


Later Magic 


tended specially for use with elastic pulls, is the inven¬ 
tion of Mr. J. Holt Schooling, of statistical celebrity. 
Mr. Schooling’s plan is to thread the elastic cord 
through a tube of coiled hard brass wire, about one 
quarter of an inch in diameter. One end of this tube 
is made fast at the starting-point of the elastic. The 
other is led across the body, and out at the armpit on 
the side at which the pull is arranged to operate. Thus 
guarded, the elastic works with an extremely small 
amount of friction. 


THE GLASS WITH MIRROR PARTITION. 


Among appliances of general utility, this merits a 
place of special honour, for few pieces of apparatus 
have a wider range of employment. 

The credit of the original idea belongs to the veteran 
wizard Hartz, to whom the conjurer of to-day, though 
usually unconscious of the obligation, is indebted for 
some of the most effective weapons in his magical 
armoury. 

The apparatus, in its simplest form, consists of a 
glass tumbler (preferably on a foot and having straight 
sides, as shown in Fig. 40) divided ver¬ 
tically into two compartments by a mov¬ 
able partition of patent plate, i. e. y thin 
silvered glass, protected on the silvered 
side by a coating of coloured varnish. To 
use it, the tumbler, with the plate in posi¬ 
tion, is so placed on the table that the 
mirror side of the partition shall be 
directly facing the spectators, in which 
condition the glass appears to be empty, though the 
space behind the partition may contain anything the 




43 


Later Magic 

performer pleases, say bonbons. When he desires to 
produce these, he shows a handkerchief, first on one 
side, then on the other, to prove it unprepared; and 
throws it over the glass. He then nips it in the centre, 
between finger and thumb, and so lifts it off again, at 
the same time lifting out the partition with it. This 
remains within the handkerchief, and may be removed 
at leisure; meanwhile the glass, previously shown 
empty, is now seen to be half full, any doubt on the 
subject being removed by an immediate distribution of 
the bonbons. 

The tumbler thus prepared is, however, merely the 
germ of the complete contrivance, which enables the 
performer to show both sides of the goblet, and so an 
empty and a full compartment, or two different sets 
of contents, in succession. 

To this end, the mirror partition is made to consist 
of two pieces of the patent plate, glued back to back, 
with a piece of cotton velvet between th^m.- The velvet 
should be a shade larger than the plates themselves, 
and when all is dry the margin should be trimmed 
down to a width of about an eighth of an inch; this 
arrangement making the partition fit more exactly in 
its place, and at the same time preventing any rattling 
against the sides of the glass. 

Thus arranged, the glass looks alike, whichever side 
of it is presented to the spectators. The hinder com¬ 
partment is loaded with, say, a blue silk handkerchief; 
the front compartment being at the outset empty. In 
this latter is now openly placed a red silk handkerchief. 
It is clear that if now the glass be reversed, the front 
compartment for the time being will be occupied by the 
blue handkerchief, the one having apparently changed 


44 


Later Magic 


into the other. The blue handkerchief being removed, 
the glass is again apparently empty. 

The only difficulty is to give the glass the necessary 
half-turn without the knowledge of the spectators, and 
this is practically no difficulty at all, for it may be done 
in three or four different ways. In the case of a small 
glass, the simplest plan is to hold the glass in one hand, 
and with the other to throw a handkerchief over it. 
The operator a moment later decides to perform the 
trick without cover, and so at once removes the hand¬ 
kerchief, but meanwhile the glass has received the 
necessary half-turn, and the trick is done. 

Another plan is to borrow a lady’s fan, and with it to 
fan the glass and its contents, the half-turn being made 
under cover of the fanning movement. If the contents 
of the two sides are to a casual view alike, as for in¬ 
stance if a white silk handkerchief, enveloped in a blue 
one, is to be changed for a red one similarly enveloped, 
even this amount of cover is not necessary. The per¬ 
former, standing beside his table, lifts the glass with 
the hand nearest to it, and transfers it across his body 
to the other. In this case the semicircle described by 
the arm automatically produces the half-turn of the 
glass. 

For stage use, the mirror principle is applied to 
glasses of large size; large enough, indeed, in some 
cases, to accommodate a dove or small rabbit in 
the hinder compartment. For the semi-revolution of 
glasses of this size it is necessary to make special pro¬ 
vision, which usually takes one of two forms. The 
first plan is to have a circular disc, a little larger than 
the foot of the glass, let into the top of the performer’s 
table. Just below the opening a wooden bar is fixed, 


45 


Later Magic 

and on this, by means of a metal pin in its centre, the 
disc revolves, actuated by a thread, led away “behind 
the scenes” to the hands of the assistant. A “stop,” 
at a given point on either side, prevents the disc mak¬ 
ing more than the desired half-turn. The vase being 
placed upon the disc, the performer covers it with a 
handkerchief. This he does in a leisurely way, holding 
the handkerchief in the first instance well to the front, 
before dropping it on the top. During the instant thus 
occupied, the assistant pulls the thread, and the trick 
is done. By having a double pull, travelling round the 
spindle in opposite directions, the vase may, if desired, 
be brought back to its original position, but this is 
rarely necessary. 

Another plan, which is in some respects preferable, 
is to place the vase, as if for its better exhibition, on a 
heavy circular stand, of ebony or ebonized wood, 
about two inches in height. The upper part of this, 
which is covered with black velvet, is movable, and 
works in a precisely similar way to the disc let into the 
table top; the pull being led away after the same 
fashion as with the former. If it is necessary to bring 
in the stand after the commencement of the perform¬ 
ance, the assistant should take up his position with the 
thread in his hand, and pay it out gently till the per¬ 
former has placed the stand in the desired position. 

Besides the immense variety of “changes” which a 
glass of this kind places within the reach of the per¬ 
former, it has another use, by no means to be despised. 
The glass, say, is standing on the table empty, having 
been used for some trick and being apparently done 
with for the time being. The performer rests his wand 
upon it, lying from back to front. Presently he has 


4 6 


Later Magic 


occasion to get rid of some article, say a glove, which 
is palmed in his right hand. With the same hand he 
picks up the wand, and the glove drops silently into 
the hinder compartment. A moment later the glass is 
carried off by the assistant, who extracts the hidden 
article, and disposes of it as may be necessary for the 
purpose of the trick. 

Where it is proposed to utilize the glass in this ex¬ 
ceptional way, and not for its ordinary purpose, the 
hinder compartment is sometimes lined with tin-foil, 
making, while such compartment remains in the rear, 
no difference in its external appearance. The space 
thus enclosed is then half filled with cotton wool (pre¬ 
ferably black) on which a watch or other delicate 
article may be dropped without fear of injury. Of 
course in this case there is no revolution of the glass. 

Two cautions may here be given with advantage. 
First, as to the pattern of the glass. This should not 
be quite plain externally, but of a cut or moulded 
pattern, a little external ornament assisting materially 
to mask the presence of the mirror partition. What is 
called a celery glass lends itself very well to the ar¬ 
rangement. The other point to be noted is that any 
object placed in the foremost compartment, and not 
entirely filling it, is reflected by the mirror; thus an 
egg appears as two eggs, and so on. This may be got 
over by professing to put two eggs in the glass, while 
actually putting in only one. Some performers meet 
the difficulty by using a half egg, cut longitudinally, 
and laying the flat side close to the mirror. In either 
case, however, it must be remembered that the per¬ 
former’s hand is also reflected so long as it is in the 


Later Magic 


47 


, and it is therefore necessary to stand so as to 
n it, at the critical moment, from the view of the 
■ :ators. 

le following is a simple illustration of the use of the 
or glass in its smaller size. 
x.ie glass (without the partition) is first handed for 
inspection, and when returned is covered with a bor¬ 
rowed handkerchief. In covering it, however, the per¬ 
former introduces, with a little intentional clumsiness, 
the mirror partition, and behind it two small silk hand¬ 
kerchiefs, of different colours. (These articles have pre¬ 
viously been concealed under the vest.) Being taxed 
with having introduced something, he disproves the 
accusation (apparently) by uncovering the glass, which 
appears to be empty. He then, standing beside the 
table, and holding a handkerchief at right angles to the 
audience so that both sides can be seen, draws it side¬ 
ways over the glass. He then picks up the glass by 
grasping it through the handkerchief and invites some 
one to take hold of the foot under the handkerchief, and 
to clasp the handkerchief tightly round the glass, so 
that nothing can possibly get in. Then, taking two 
other silk handkerchiefs (duplicates of those in the 
glass), the operator “vanishes” them by any method 
he pleases (see post ) and orders them to pass into the 
glass. Finally he jerks off the outer handkerchief, nip¬ 
ping the glass division through the fabric and carrying 
it off with it, when the two silk handkerchiefs are 
revealed. 

Hartz, in his mechanical days, was accustomed to 
utilize the mirror glass for an important addition to 
the brilliant “Shower of Gold” trick. The glass used 


48 


Later Magic 


in this case was a tall celery glass, with double mirror 
partition. At the outset, both compartments were 
empty. Showing a bag of golden (?) coins, the per¬ 
former poured them unmistakably into the glass (the 
forward compartment). In covering the glass with a 
handkerchief, he turned it round, bringing the empty 
side to the front. The coins were then ordered to pass 
(as described in More Magic, pp. 428-433) into the 
glass vase upon the mechanical table, wherein they were 
duly heard to fall, and were ultimately found. When 
the mirror glass was again uncovered, the coins with 
which it had been filled were no longer visible, proving 
incontestably, according to conjurer’s logic, that those 
same coins had actually passed into the other vase. 

By another adaptation of the same principle Hartz 
produced an extremely effective form of the “ Fish and 
Ink” trick. The mirror partition was in this case se¬ 
cured by a waterproof cement to the sides of the vase. 
(This, by the way, is a costly and troublesome matter, 
for, to be perfect, the glass must be grooved vertically to 
receive the partition.) The side remote from the au¬ 
dience was beforehand filled with water and goldfish, 
the other side being left empty. In this condition 
the glass was placed on the table, but a little later 
(professedly in order that it might be better seen) a 
block of wood, containing a turn-table arrangement 
as already described, was introduced beneath it. Ink 
was brought forward in an earthenware jug, in size 
apparently of similar internal dimensions to the vase, 
but so filled up with cement as to contain in reality only 
half as much as its external appearance would seem to 
denote. The ink, however, was the real thing, and 
the spectators were invited to satisfy themselves fully 


Later Magic 


49 


d its genuineness, even by tasting it, if desired, 
done, it was poured into the forward compartment 
e vase, which it just filled. The performer, retiring 
great a distance as possible (so as to divide general 
ition with the vase) fired a pistol. Under cover 
oi ~.*e report the assistant gave the necessary pull, the 
glass revolved, and the ink was seen to be transformed 
to clear water, with goldfish swimming about in it. 

CONTRIVANCES FOR “PASSING OFF.” 

One of the conjurer’s most frequent requirements is 
to be able, unperceived, to “pass off” borrowed articles 
(watches, rings, and the like), to be dealt with accord¬ 
ing to circumstances, behind the scenes. With a stage 
arranged after Robert-Houdin’s fashion, this was a very 
easy matter. The stage was enclosed on each side as 
well as at the back, forming what is known as a “box” 
scene, representing a drawing-room, with white and 
gold furniture of the Louis XV. period. 1 Fixed against 
the canvas wall on either side was an elegant little 
table, of the bracket or “console” kind. In each of 
these was a trap, down which any article to be passed 
off might be dropped. The assistant, thrusting his arm 
into the interior of the table from behind, took pos¬ 
session of the article, and disposed of it according to 
the requirements of the case. But the Robert-Houdin 
stage is a thing of the past. The tendency of the 
present day is to do with as little stage-furniture as 
possible, and it has been found necessary to devise 
other methods of “passing off,” to meet the altered 

1 For an exact representation of Robert-Houdin’s stage, see The 
Secrets of Stage Conjuring, p. 31. 


50 


Later Magic 


conditions of modern conjuring. Some such devices 
have been already described, and others will be indi¬ 
cated in connection with special tricks. But the 
wizard, like the archer, cannot have too many strings to 
his bow, and here again Hartz comes to the fore with a 
couple of clever and little known contrivances. 

The first (Fig. 41) is a clear glass bottle, as used for 
claret, from one side of which has been cut out a piece 
oval in shape, and measuring about three 
inches by two. To this is adapted a sort 
of tin cup, forming a dry chamber within 
the body of the bottle, but not interfer¬ 
ing, save to a very small extent, with its 
capacity for holding liquid. In the bottom 
of the cavity is a little cotton wool, to 
prevent the rattling of anything placed 
inside. 

The performer desires to pass off, say, 
a borrowed watch, of which he has secretly 
gained possession. At the appropriate moment (feeling 
a little faint, or for other good and sufficient reason) 
he asks his assistant to bring him a glass of wine. A 
glass 'and the bottle are brought in on a tray, the 
opening of course turned away from the audience. 
The performer helps himself, and replaces the bottle; 
which is then carried away again, the audience little 
suspecting that in the act of pouring out the wine the 
performer has passed into the bottle the borrowed 
article, a substitute having been previously left in 
sight, or in the keeping of one of the spectators. 



Fig. 41. 


The second contrivance, suitable for smaller articles, 
such as coins or rings, takes the form of a match-box, 








5i 


Later Magic 

or match-vase, of the kind in which the matches are 
inserted upright (see Fig. 42). The performer, wishing 
to pass off, we will suppose, a borrowed 
ring, under some pretext calls for a light; 
say, in order to seal up a packet professedly 
containing the borrowed article. The as¬ 
sistant brings him, in one hand a candle, 
and on the palm of the other the box of 
matches. An examination of the box, if Fig. 42. 
permitted, would reveal the fact that it 
has a tubular opening, as indicated by the dotted 
lines, right down the centre, the matches resting 
between this and the outer portion. In the act of 
taking a match, the performer drops the ring down the 
centre space into the assistant’s hand. This done, the 
box may be placed upon the table, and left there till 
the trick is concluded, the assistant walking off with 
the borrowed article. 

The same thing may be done with an unprepared 
match-box of the ordinary kind, the ring being simply 
dropped among the matches. But in this case the box 
must be carried off by the assistant, a less perfect ar¬ 
rangement than leaving it on the table, arid carrying 
off the borrowed article only. 

A contrivance of my own for “ passing off ” purposes 
was a metal powder-flask, with a cavity in the side, 
after the manner of the Hartz bottle. This was 
brought in to load a pistol. Having served this pur¬ 
pose, it carried off in its interior the borrowed article. 
Another expedient which suggested itself to me, 
though I never made practical use of it, was to have a 
candlestick made with a cavity in its foot, into which 






52 


Later Magic 


the borrowed article might be dropped. There is 
never any lack of pretexts for the use of a candle in 
magical performances. 

THE HARTZ PISTOL. 

Among Hartz’s earlier inventions is an ingeniously 
contrived pistol for passing off borrowed rings. It 
was, however, a little too suggestive of being made 
specially for conjuring purposes, which was probably 
the reason that the inventor, in his later performances, 
discarded it in favour of the more subtle expedients 
already described. It has now for some years been 
procurable at the principal conjuring depots. 

To an ordinary pocket-pistol is adapted a cylindrical 
brass tube, as a a in Fig. 43, about two inches in 
diameter, shouldered off into a neck 
of smaller dimensions, 6, where it fits 
over the pistol. So large a barrel 
naturally demands a special ramrod. 
The stem, c, of this, is of wood, but 
the head, d , which is two inches 
deep, is of metal, cylindrical in form, 
and of such diameter as to pass easily 
down the barrel. Its lower edge is 
slightly turned in all round. Resting 
on this turned edge is a loose bottom, 
e , normally pressed downwards by a 
spiral spring, /, above it (kept in posi¬ 
tion by a central pin, g), but yielding 
easily to upward pressure. With this is used a brass 
cup, h } in general appearance exactly like the head of 
the ramrod, but of such a size as to fit somewhat 
tightly within it. 



Fig. 43. 













Later Magic 


53 


When it is desired to use the pistol, the barrel 
proper is loaded, in the ordinary way, with a light 
charge of powder, and the tube a a is placed in position. 
Into this the cup h is then privately inserted, the per¬ 
former taking due precaution that the weapon shall 
thenceforth be held muzzle uppermost. The borrowed 
rings are now dropped into the tube, naturally falling 
into h. The act of ramming down forces d over h, 
the loose bottom e receding to make way for the rings. 
When the ramrod is again withdrawn, and carried off 
by the assistant, the rings are carried off within it, and 
are at his disposal for the purpose of the trick. 



Fig. 44. Fig. 45. 


Apropos of pistols, I may take the opportunity of 
mentioning another rather ingenious pistol-tube, of 
French construction. This also is cylindrical in shape 
and contains a piston a a , normally pressed upwards by 
the action of a candle-spring, b, to the position shown 
in Fig. 44, but capable of being pressed back as in 
Fig. 45, and secured in that position by a spring catch. 
To the upper face of a a bit of crumpled white cambric 
is glued. 

The performer, having borrowed a number of small 

















54 


Later Magic 


articles, drops them unmistakably into the tube, in 
which he has previously forced back the piston as 
shown in Fig. 45, finally borrowing a white handker¬ 
chief, which he uses by way of wad. Going to a side 
table in search of a cap for the pistol, he lowers the 
mouth of the tube for a moment behind the farther end 
of the table, and at the same moment releases the 
catch. The spring expands, and the articles are shot 
out on to a servante, whence they are subsequently 
carried off by the assistant. The internal appearance of 
the tube remains the same as before; the dummy hand¬ 
kerchief having taken the place of the borrowed one. 

With this pistol it is desirable (professedly “not to 
alarm the ladies ”) to use caps only, as the explosion of a 
charge of powder would have disagreeable consequences. 


THE “excelsior” CLIP. 


The little appliance to which the above title is given 
is one of the smallest pieces of apparatus which can be 
used by the conjurer, but its usefulness is out of all 
proportion to its size. It is a minute spring clip, of 
steel, with the outer portion of one of its longer arms 
bent over into the form of a hook, and sharpened to a 


point, so that it can be hooked on 
to any portion of the clothing (see 
Fig. 46). Its extreme length is 
only half an inch, and its width 
three eighths of an inch. The clip, 
however, opens widely enough to 
take in the edge of a half-crown (as 
in Fig. 47), and on the other hand 



Fig. 46. Fig. 47. 


closes with so firm a grip that it will securely hold 
a card, or even a slip of paper. 


Later Magic 


55 


The possible uses of this little clip are legion. For 
instance, it may be hooked, holding a shilling or a 
half-crown, inside the vest, just above the waistband, 
or underneath the lapel of the coat. Under the vest 
a little higher up, it will hold a card, or half a dozen 
cards, ready for production when necessary. By its 
aid a coin may be hung on one finger at the back of the 
hand, and so ‘‘vanished,” or may be temporarily sus¬ 
pended on the back of a volunteer assistant, to be 
reproduced, apparently from nowhere, a moment later. 
Or again (for this little‘‘tip” I am indebted to Mr. John 
Hamley) the performer may ask a volunteer assistant 
to thoroughly shuffle the pack. When it is returned, 
he remarks that that was a good enough shuffle for a 
beginner, but if the gentleman had been a poker-player, 
he would have kept back a few cards under his knee, 
so! Whereupon he passes his empty hand under his 
own knee and produces a straight flush, or some 
similarly staggering combination. The explanation is, 
of course, that the cards in question were suspended in 
the clip behind the leg, the performer taking care, until 
he has produced them, to keep full face to the company. 

These are but a few of the possible uses of the Excel¬ 
sior, which, by the way, has two secondary advantages: 
first, it is so small that if accidentally dropped on the 
floor it causes no sound and attracts no attention; and 
secondly, its price is so nominal that the performer can 
use, or lose, half a dozen without feeling any the poorer. 

THE SMOKE APPARATUS. 

Most of my readers are doubtless acquainted with the 
“ smoke” trick, viz.: the production of clouds of white 



56 


Later Magic 


vapour by means of the combination of liquid ammonia 
and hydrochloric acid. A few drops of each suffice, 
the mode of combination depending upon the trick in 
hand, and the fancy of the performer. In the original 
form of the trick a glass vase, with a cover of the same 
material, was used. The vase was wetted with, say, 
the ammonia, and the cover with the acid. So soon as 
the cover was placed on the vase, the “smoke” began 
to form within. In another version the performer 
produces two clay pipes, empty, and to all appear¬ 
ance innocent of preparation; but when he takes one of 
them in his mouth, and covers its bowl with that of 
the other, heavy white clouds at once begin to roll out 
from between them. It is hardly necessary to mention 
that the one pipe contains a few drops of the alkali, 
and the other a like quantity of the acid, and that the 
performer, though pretending to inhale, really exhales, 
thereby forcing out the vapour from between the pipes. 
To inhale the vapour, which is chlorine gas, would be 
distinctly undesirable. 

There is in any case hardly enough in the smoke trick 
to make it worth independent exhibition, but as an in¬ 
cidental effect arising naturally in the course of some 
other trick, it will often have considerable dramatic 
value. When for instance a performer takes a given 
article (apparently) in his hand, and rubs it away to 
nothingness, the feat will gain considerably in point of 
realism if he can make it dissolve in visible smoke. A 
German conjurer, Dr. Avon, has devised an ingenious 
little apparatus for producing this effect with ease and 
certainty. 

An inspection of our illustration, Fig. 48 (borrowed 
from the German magical serial, Die Zauberwelt ), will 


Later Magic 


57 


make the construction of the apparatus pretty clear, 
a is a little flat bottle of, say, half an ounce capacity, 



and b is a test tube. In the mouth of each is a cork, 
perforated by two holes, h is a tube of glass or 
metal (or two tubes connected by a third of rubber) 
forming a channel of communication between the two 
vessels, which are enclosed in a little tin case, /. The 
little bottle is destined for the reception of the hydro¬ 
chloric acid, and the test tube for that of the ammonia, 
say twenty drops of each. The object of having the 
bottle a comparatively large, in proportion to its con¬ 
tents, is that it may act as a chamber for the formation 
of the gas. In each cork is inserted a second short 
bent tube, of glass or metal, in connection with one of 
rubber. The rubber tubes may be of small bore, but 
should be heavy in point of substance, that they may 
not collapse too readily on pressure. The tube g, the 
one in connection with the ammonia, terminates in a 
rubber ball, e, pressure on which will naturally force 
the vapour of the ammonia out of b and into a, and 
thence, transformed into chlorine gas, through the tube 
c on the opposite side. This tube is from considerations 









58 


Later Magic 


of space shown “broken off” in the diagram, but it 
is in fact of considerable length. The outer end may 
either be left open, or terminate in a little tap, as d. 
The dimensions of the tin case need not exceed two and 
one half inches square and three quarters of an inch 
from back to front, so that it is easily carried in an 
inside pocket, or it may be attached, by means of a 
couple of bent pins soldered to the case, to the inside 
of the vest. 

From the case the tube c is carried down the right 
sleeve, terminating a little above the cuff, and attached 
thereto by a thread, so as to be promptly get-at-able. 
The air-ball, e , should hang somewhere on the opposite 
side, covered by the coat, but within easy reach of the 
performer’s left hand. 

The treatment of the free end of c is an open question. 
Dr. Avon himself suggests two or three alternatives. 
First, to leave it quite open. This plan has the draw¬ 
back that an accidental pressure of the air-ball might 
cause a premature appearance of the “smoke” from 
the sleeve, which the performer would find it difficult 
to account for satisfactorily. To prevent this, the use 
of a little tap, as d in the diagram, is suggested, but this 
likewise is open to objection as being liable to catch in 
the sleeve. A third plan is to transfer the little tap 
to the point g, but here it is not very readily get-at-able. 

There is a further point to be considered, viz., that 
in either of the cases above mentioned the white vapour 
comes out in a single stream from the extremity of c; 
whereas to produce a complete illusion it should rise 
in a cloud from the hand. To meet this difficulty, the 
inventor suggests that c be made to terminate in a 
hollow ball, perforated with several holes. 


59 


Later Magic 


In my own opinion, neither of these plans is entirely 
satisfactory. What is needed is some form of terminal 
which shall effectually cut off the gas till needed, and on 
the other hand, when it escapes, shall allow it to do so in 
a diffused form. I would suggest some such appliance 
as depicted in Figs. 49, 50, wherein a a represents a 



Fig. 49. 


Fig. 50. 


hollow egg, of some hard wood, two inches in length 
by one and one quarter in diameter, and divided in half, 
internally, by a diaphragm, b b, perforated (as would be 
also the upper half of a a) with several holes. These 
would usually be kept closed by the contact of a 
disc d , connected with a plunger c , forced upwards by 
the action of a spiral spring. The lower end, e, of the 
egg would be hollow, and in connection with the 
rubber tube c in Fig. 49. The working of the ap¬ 
pliance will be almost self-evident. In its normal 
condition the holes in b b are closed; but the moment 
the stud, /, at the head of the plunger, was pressed 
down, these holes would be clear, and the gas would 
stream out through the openings in the upper part of 
a a. 

A very effective illustration of the use of the smoke 



6o 


Later Magic 


apparatus in the hands of the inventor himself will be 
found in the chapter devoted to “ Glove Tricks.” 

A MAGICAL EXPLOSIVE. 

The mention of the smoke apparatus recalls another 
little chemical secret, for the knowledge of which I am 
indebted to a very distant correspondent, Mr. W. J. 
Collins, of North Ipswich, Queensland. Discreetly used, 
it will be found to impart an element of genuine mys¬ 
tery even to an otherwise commonplace trick. 

The recipe is as follows: Take a few flakes (not 
more) of ordinary iodine, say as much as will lie on a 
threepenny-piece. Reduce to powder, place in a wine¬ 
glass, and add a small teaspoonful of liquid ammonia. 
Let the mixture stand for half an hour, and then filter 
through blotting-paper. A dark brown substance is 
left behind, formerly known as iodide of nitrogen. 
This, however, is now found to be a misnomer; there is 
in fact no appropriate popular name for the product. 
The chemical formula isNH 3 I 2 . It is a powerful ful¬ 
minate, and indeed will explode spontaneously if dried 
in too warm a place. It should be divided, while still 
wet, into minute portions, each not much larger than a 
millet seed. Each of these is laid on fresh blotting- 
paper for a few minutes to get rid of its superfluous 
moisture, and then, while still damp, transferred to the 
article on which it is intended to be used. When quite 
dry, the slightest friction, or even pressure will make it 
explode, though, in the minute quantities above mentioned , 
without danger. 1 

1 The reader may here be reminded that all fulminates are dan¬ 
gerous in careless hands, and the one I have described is excep¬ 
tionally lively. Too much caution, therefore, cannot be used in 


Later Magic 61 

The magical possibilities of such an explosive will be 
obvious to any experienced performer. One of the 
uses suggested by Mr. Collins is the preparation of a 
penny with a little dab of the fulminate. This is secretly 
substituted for a borrowed coin, and a spectator is in¬ 
vited to hold it, being at the same time told that if he 
rubs it ever so little it will jump out of his hand. When 
he does so, the explosion takes place, and unless he has 
much stronger nerves than the majority of people, he 
forthwith drops the coin, the effect to the spectators 
being that it has spontaneously jumped out of his hand. 

Again, by preparing the wand accordingly, the mere 
act of drawing it through the hand, or of tapping some 
object with it, will suffice to produce a report, which, 
not being explainable upon any ordinary principles, 
lends valuable support to the performer’s profession 
of mystic powers. 1 The key of a box, the knob of a 
drawer, the corner of a card, or the edge of a paper bag 
may be prepared in like manner, and thus made to pro¬ 
duce a new element of surprise in the trick for which the 
article is used. 

To take a single illustration of the use of the ful- 


handling it. The neophyte is recommended, first, never to manu¬ 
facture more of the compound than is needed for his immediate 
purpose; and, secondly, to familiarize himself with it by careful 
and frequent experiment before he attempts to use it in public, 
as an excess, even of a few grains, might have disagreeable conse¬ 
quences. A pellet even of this size (•) will produce a very audible 
explosion. 

1 The central point of one end of the wand is a very good spot 
for the application. The wand thus prepared may be used through¬ 
out the evening without any fear of the fulminate going off pre¬ 
maturely, while at the right moment the performer has only to 
bring down the wand vertically on any hard surface, to produce the 
desired explosion. 


62 


Later Magic 


minate in enhancing the effect of a trick, let us suppose 
that the performer, having had a card drawn from the 
pack, replaced (palmed off), and the pack shuffled, 
finally causes it to appear at the bottom. The trick, 
performed after this bald fashion, would be too com¬ 
monplace to be worth the doing by any but the mildest 
of amateurs. But suppose that the performer has be¬ 
forehand prepared a small tray with a dab of the ful¬ 
minate in its centre, and that with the announcement, 
“ I shall now cause the selected card to pass to the 
bottom ’ ’ (where he has already placed it), he brings the 
pack down with a slap upon the tray, and thereby 
causes the explosion. The spectators cannot doubt 
that the card really did pass down at that particular 
moment, for they heard it go. The mark caused by the 
fulminate on the face of the card will be further proof of 
“no deception,” and if the performer gravely assures 
them that this is a new discovery in electricity, or the 
like, nine tenths of the audience will be quite ready to 
believe him. 

THE SPIDER. 

Although from considerations of space I have found 
myself compelled to exclude coin tricks from the pres¬ 
ent volume (reserving them for future treatment), and 
although the “ spider” was primarily designed for use in 
such tricks, it is so far an appliance of general utility 
that I think it may fairly find a place in the present 
chapter. 

Readers who have had the pleasure of witnessing the 
clever performance of Mr. Nelson Downs will have noted 
his use of the very effective sleight known as the ‘ ‘ back 
palm, ’ ’ whereby a coin is made to appear in and disap- 


Later Magic 63 

pear from the hand at pleasure without even closing the 
hand. 

The modus operandi is as follows: The coin, which 
should be equal in diameter to the collective width of 
the second and third fingers (say a half-crown, if the 
hand be small, or a double florin or five-shilling piece in 
the case of a broad-handed person), is laid flat on the 
second and third fingers in the position shown in Fig. 51, 



and held in that position by the pressure on its opposite 
edges of the first and fourth fingers. The second and 
third fingers are then bent down behind the coin till their 



tips reach its lower edge, as in Fig. 52. These are again 
straightened, but this time in front of the coin, which 







6 4 


Later Magic 

describes a semi-revolution on its own axis, a a, to allow 
of their passage; finally remaining at the back of the 
hand, as in Fig. 53, still supported by the lateral pres¬ 



sure of the first and fourth fingers. The hand, of 
course, seen from the front, appears perfectly empty. 
The reverse movement brings the coin back again to 
its first position. 

This is by no means an easy sleight, though it may 
be made much more so by using a specially prepared 
coin, having a couple of wire points, one eighth of an 
inch or less in length, soldered at right angles to its 
edge at opposite ends of its diameter. The lateral 
pressure of the fingers on these points holds the coin 
securely, and it revolves upon the axis thus created. 
Even so, however, a clumsy performer might manage to 
drop the coin. In aid of such weak brethren the in¬ 
genuity of magical inventors has devised a mechanical 
appliance, known (from a fanciful resemblance to that 
insect) as the “Spider,” and enabling the merest tyro 
to produce a similar effect not only with coins but other 
small objects, with comparative certainty. 

There are several forms of the spider, according to 
the effect desired to be produced. To produce and 





Later Magic 


65 


“vanish” a coin, the apparatus is made as follows: 
Through a coin of sufficient size a hole is drilled (in the 
direction of its diameter) from side to side. A piece of 
copper wire, seven and one half inches in total length, is 
passed through this hole, bent as shown in Fig. 54, and 
at right angles to each of its ends is soldered a half- 
ring, also of copper, the whole, save the coin, being then 
enamelled flesh-colour. The coin revolves freely on its 
wire axis. To use the appliance, the performer so places 
it in the hand that the two semicircular clips embrace 
the roots of the first and fourth fingers, when the coin 
will take the precise position indicated in Fig. 51. The 
working is the same as that of the genuine sleight, but, 



of course, infinitely easier, for it is, in this case, im¬ 
possible to let fall the coin. The framework, being of 
the same colour as the hand and lying between the 
fingers, is practically invisible at a very short distance. 

For the production of coins from the empty hand, a 
small metal shield takes the place of the perforated 
coin. To this shield is rivetted a spring clip, between 
which and the shield four coins can be secured. The 
apparatus, duly “ loaded,” being placed in position, the 



66 


Later Magic 


hand is shown empty (the clip and its contents being 
transferred to the back). The performer drops the 
hand, and at the same moment brings the clip to the 
front. The back of the hand is now kept towards 
the audience. With the thumb he pushes one coin to¬ 
wards the finger-tips, and produces it, say, from a 
lady’s muff, or from under a gentleman’s coat collar. 
With a wave of the arm, he again shows the hand 
empty by turning the coins to the rear; then bringing 
them back produces a second coin after some similar 
fashion, and so on, till the contents of the clip are ex¬ 
hausted. 

A third form of the spider is designed to produce 
and vanish an egg. In this case the revolving shield 
is again employed: but, in place of the coin-clip, it has a 
couple of sharp points, three eighths of an inch in length 
and about half an inch apart, projecting at right angles 
from its surface. The egg, though ostensibly the 
genuine production of the hen, is in reality of cork, 
whitened over. It is, therefore, an equally easy matter 
to impale it on the projecting points and to detach it 
from them when the trick is complete, the shield being 
returned to the back of the hand. 

There are yet other forms of the spider, adapted 
for different purposes. With a little practice, the 
necessary movement of the second and third fingers can 
be executed so rapidly as to be almost imperceptible, 
even with the hand at rest. If covered by a slight 
sweep of the arm at the same time, it becomes quite in¬ 
visible. Any amateur desirous of obtaining a cheap 
reputation for skill in sleight-of-hand cannot do better 
than procure one or two spiders. The expert will 
probably elect to leave them alone. At best, the con- 


Later Magic 


67 


trivance is but a makeshift, and there is too much of it, 
so to speak, in proportion to the effect produced. But 
from this comparatively crude root-idea has sprung a 
much more artistic appliance for similar purposes, de¬ 
scribed by its author as 

THE “MULTUM-IN PARVO ” VANISHER. 

This very ingenious contrivance is the invention of 
Mr. C. O. Williams, of Cardiff, a gentleman to whom I 
am indebted for the knowledge of many “ good things,” 
original and otherwise. 

It consists simply of an ordinary brass tie-clip (see 
Fig. 55), to which are attached, by means of a piece 



of bent wire soldered on behind it, a couple of gut loops, 
so arranged in point of length that when passed over the 



ends of the first and fourth fingers, they shall be fully 
extended, with the clip lying between them, the jaws 





68 


Later Magic 


towards the finger-tips. (See Fig. 56.) Thus at¬ 
tached, the clip, with anything it may hold, say a 
penny or a half-crown, may be back-palmed with the 
utmost facility. So long as it remains at the front, the 
presence of the clip is masked by the thumb, which in 
the act of (apparently) holding the coin, naturally lies 
just over it. When desired, a slight pressure of the 
thumb on the outer arm of the clip opens the jaws, to 
admit or release a given object, the aid of the opposite 
hand not being required. 

It is as well to have the clip japanned flesh-colour, 
though with ordinary care it is never seen. It may be 
made available to vanish and reproduce as many as 
three coins simultaneously, a cigar or cigarette, an 
empty match-box, and many other small articles. A 
special example of its utility will be found described in 
the chapter devoted to “ Handkerchief Tricks.” 

THE HARTZ “HOOK,” FOR WORKING MECHANICAL PIECES. 

It is quite in accordance with the fitness of things 
that electricity should have been pressed into the 
science of magic. When this was first done by Robert- 
Houdin, so little was known of its powers and proper¬ 
ties that electricity was itself regarded by a good many 
people as a sort of magical force. Indeed, it got the 
credit of a good many effects with which it had no con¬ 
cern whatever, and “Oh, it’s done by electricity, you 
know,” formed a convenient alternative to the ‘ ‘ up his 
sleeve” which explained everything to the satisfaction 
of another class of spectators. 

In the present day the case is altered. The marvel 
of one generation becomes the commonplace of the 
next, and electricity is working in our own households 


Later Magic 


69 


and on all sides of us far greater wonders than it ever 
did on Robert-Houdin’s stage. This altered state of 
things has naturally diminished its value to conjurers, 
who nowadays use it but little. 

The disuse of electricity for magical purposes is in one 
respect to be regretted, inasmuch as several effective 
stage tricks, which depended upon it, have with it 
fallen into desuetude. The reader may be glad to 
know of a method hitherto absolutely unknown where¬ 
by some of the best of these can be worked without the 
aid of electricity, and, indeed, with greater ease and 
certainty. 

The tricks for working which Hartz devised the ap¬ 
paratus which I am about to describe (and which has 
never been used by any performer save himself) are 
those of the Crystal Cash-box and Bell, and a special 
bird-cage trick, wherein a canary is made magically to 
appear in the suspended cage. 

The apparatus itself, to the eye, consists merely of a 
piece of blind-cord hanging down in the centre of the 
stage just inside the proscenium, with a brass hook on 
its lower end. It is not, however, quite so simple as it 
looks. The hook is shown in section, actual size, in 
Figs. 57, 58. It is in fact a piece of brass tubing, bent 
and finished off to the required shape. At the lowest 
point of its inner curve is a hole through which comes 
the point of an inner and smaller hook, a a , the other 
end of which is connected with a silk line, b, passing up 
the supposed blind-cord. This latter is in reality a 
flexible tube of fine brass wire rolled spirally, and cov¬ 
ered with wool or silk in such manner as to give it the 
appearance of a cord. The upper end of the hook is 
reduced in diameter, as shown, to allow of the end of 


70 


Later Magic 


this tube being passed over it. When the inner line is 
slack the hook is in the condition shown in Fig. 57, but 



Fig. 57. Fig. 58. 


when it is drawn taut the point of the inner hook is 
raised, as in Fig. 58. 

The upper end of the cord is out of sight, but if the 
spectator were permitted to trace it to the point of at¬ 



tachment, he would find the arrangement depicted in 
Fig. 59 - Here a a is a brass plate six inches in length, 

























Later Magic 


7i 


screwed to the inside of the proscenium, b is the upper 
end of the supposed blind-cord, and c c c the line pass¬ 
ing through it, and led away to the hand of the assis¬ 
tant. dd is a short piece of rubber cord, one end of 
which is attached to a staple at e, and the other led to 
c, at a point (/) a little beyond the guide-pulley g. 
This rubber cord acts as a check, and prevents the silk 
line being pulled so far as to lift the cord b with it. It 
also ensures the return of c c c, and the consequent 
withdrawal of the hook a (Figs. 57, 58) the moment 
the pull is relaxed. 

Each of the pieces of apparatus worked by means of 
this device is suspended by a ring hung on the hook, 
the mechanism of such ring being the complement of 
that of the hook. Fig. 60 gives a view of the magic bell. 



The bell itself is of clear cut glass; the fittings of metal. 
It will be observed that the hammer lies on the outside. 
To make the bell sound, the hammer must be lifted, 
and fall again. Fig. 61 shows how this is effected. 
The ring a a is hollow, as is also the shank b b. The 
stem c y which carries the hammer, forms the longer arm 
of a lever which works on a pivot at d y and whose 






72 


Later Magic 


shorter arm terminates just over a slot cut crossways 
in the ring at e. For greater clearness, this lever is 
shown midway between its two alternative positions, 
but as a matter of fact, its shorter end normally lies 
close to the inner surface of the ring, in actual contact 
with the opening e. When the shorter arm of the lever 
is in this position, the stem c is likewise depressed, 


/ 



and the hammer lies in contact with the bell. But if 
the ring be now suspended on the hook, and the thread 
pulled, the pin, on rising out of the hook, compels a 
corresponding elevation of the lever c. The hammer is 
thereby lifted, and when the pull is again relaxed, it 
falls and strikes the bell. This may be repeated ad 
libitum , each pull causing a separate stroke. By ar¬ 
ranging the pulls accordingly, the bell may be made to 
count up to any given number, or answer questions 
after the spiritualistic fashion with three for “ yes,” one 


Later Magic 73 

for “no,” and “two” for “doubtful,” or as may be 
arranged. 

When showing the bell around for inspection, the 
performer naturally inserts his finger in the ring, 
thereby concealing the fact that there is a slot cut in it. 

It should be mentioned that after working the bell in 
the manner above described, Hartz was accustomed to 
take it off the suspended hook, and to transfer it to 
another hook forming part of a light brass stand, placed 
upon the “run-down,” where it still sounded as before. 
The ‘ ‘ hook ’ ’ in this case was on the same principle as 
that already described, but was worked by electricity, 
the general arrangement being the same as described in 
the case of his “Glove and Rings” trick, of which 
particulars are given in a later chapter. 

The working of the Crystal Cash-box without elec¬ 
tricity is effected in a very similar manner. The box 
is of bevelled plate-glass, set in a metal frame, and is 
about nine inches in length, six in breadth, and four in 
depth. It is suspended by a single ring in the centre 
of the lid, as shown in Fig. 62. This ring is attached to 



Fig. 62. 


a circular plate, about an inch and a half in diameter. 
On opening the box a similar plate is seen on the inside 
of the lid. Between the two plates is a circular cav¬ 
ity cut through the thickness of the glass, forming a 








74 


Later Magic 


receptacle to hold four half-crowns. The inner plate is 
in truth a movable flap working on a spring hinge, just 
strong enough to make it self-closing. The flap, when 
the coins are in position, is secured by a tiny catch, with¬ 
drawable by the same kind of mechanism in the ring 
as has been already described in the case of the bell. 

The box being suspended on the hook, and set 
swinging, the performer at the right moment makes the 
motion of passing the visible coins into it. The line 
being pulled, the concealed substitutes fall into the box, 
those professedly thrown from the hand being van¬ 
ished by means of the “tourniquet,” or otherwise as 
may best suit the performer. The flap closes of its own 
accord. The coins taken from the box are of course 
exchanged for the borrowed coins (which have been 
duly marked) before they are handed for identification. 

The special bird-cage trick I have mentioned is in 
effect as follows: A handsome cage of brass wire, circu- 



Fig. 63. 


lar, with dome top (the familiar pattern of a canary- 
bird’s cage, as in Fig. 63) has remained in full view, on 



















Later Magic 


75 


the floor at back of stage, from the commencement of 
the performance. The performer borrows a ring, which 
is loaded into a pistol. He then fetches the cage from 
the back, and suspends it from the hook, hanging, as 
usual, in the centre of the proscenium. The cage is 
obviously empty, nor apparently is there the smallest 
space wherein anything could be concealed, and yet, 
when the pistol is fired at the cage, a canary appears 
therein. Round the bird’s neck is a ribbon, bearing 
the borrowed ring. 

The secret lies mainly in the construction of the cage. 
The ring at top, by which it is suspended, rises from the 
centre of a circular plate three and one half inches in 
diameter. Immediately below this (see Fig. 64) is a 
cylindrical box a, three inches in diame¬ 
ter by one inch deep. This, like the 
coin cavity in the cash-box, is closed 
by a flap, b, working on a spring hinge 
just strong enough to keep it closed 
when empty, but yielding to the slight¬ 
est pressure upon it. There is, how¬ 
ever, a spring catch at c, which keeps b 
securely closed till such catch is withdrawn, for which 
purpose the ring at top contains similar mechanism 
to that described in the case of the bell and cash-box. 
This “top” fits into a circular space in the upper part 
of the bird-cage; and when dropped into position fixes 
itself securely by a self-acting catch on each side. 

Used with this is a duplicate top, of precisely similar 
appearance, but having no mechanism whatever, and 
having no means of attachment to the cage, so that it 
simply lifts in and out of the circular space above men¬ 
tioned. When the cage is first seen at the back of the 



Fig. 64. 





7 6 


Later Magic 


stage, this dummy top is in position. The other, 
which we will call the trick top, is behind the scenes. 

It should here be explained that when Hartz, in his 
earlier days, was working a miscellaneous programme 1 
on a stage of his own, he adopted to some extent the 
Robert-Houdin arrangement, though greatly simplified. 
In particular, he had a small table placed against the 
side scene. The end of this table farthest away from 
the spectators was open, and was so arranged as to 
form a small servante. Here the assistant was able, 
from behind, to place any article of which it w T as 
necessary that the performer should gain secret pos¬ 
session. 

This arrangement is utilized for the purpose of the 
bird-cage trick. After the borrowed ring has been 
passed off by one or other of the means already de¬ 
scribed, the assistant attaches it to the neck of a canary 
and inserts the bird in the trick top of the bird-cage. 
This is then placed on the servante above mentioned. 
The performer, making some excuse to go to the side 
table, gets possession of it. He then proceeds to 
fetch the bird-cage, and, while stooping to pick it up, 
under cover of his own body removes the dummy top, 
and substitutes the faked top, which, as before men¬ 
tioned, fixes itself. The trick is now done. He hangs 
the cage on the hook and fires the pistol at it. The 
assistant pulls the line. The catch is released, the flap 
b opens, the bird falls out by its own weight, and in¬ 
stinctively drops on the perch; while b closes again by 
the action of the spring. 

1 Now abandoned in favour of the one great production trick 
known as “A Devil of a Hat”; in which no other performer has 
ever attempted to compete with him. (See page 625.) 


Later Magic 


77 


It is obvious that the same principle might be applied 
to produce many other effects, say, the dropping of 
coins into a suspended glass. The manufacture of the 
apparatus in the first instance is a matter of great 
nicety, but, once properly adjusted, it is by no means 
likely to get out of order. 

In connection with devices of general utility I must 
not omit to mention the 

CHANGE (or load) FROM BACK OF ASSISTANT. 

This is by no means an absolute novelty, for it will 
be found mentioned in connection with the “inex¬ 
haustible bottle” trick, in a series of papers on leger- 



Fig. 65. 


demain in Messrs. Cassell’s Popular Recreator , first 
published, if I remember right, in 1873. Fig. 65 is 




78 


Later Magic 


practically a reproduction of the illustration there given, 
which needs no explanation. Who was the originator 
of the idea I cannot say, but after remaining unused 
and generally unknown for a good many years, it has 
recently been revived, or re-invented, and employed 
with good effect in various tricks by two or three lead¬ 
ing performers. 

In order to cover the necessary passing of the per¬ 
former’s hand behind the back of the assistant, the 
latter should bring in something or other on a tray or 
plate, held with both hands before him. The per¬ 
former, standing close beside him, takes this with the 
one hand, and with the other makes the desired 
“ change.” 

Naturally the assistant must not turn his back to the 
spectators in leaving the stage. He must retire after 
a somewhat crab-like fashion, moving sideways. To 
facilitate this, he should make his appearance from a 
{joint as far back as possible, and his retreat at a point 
as far forward as possible, meanwhile advancing no 
farther from the wing than is absolutely necessary. 

THE PNEUMATIC SUCKER. 

This, though as yet but little used, promises to be¬ 
come a valuable aid to the sleight-of-hand conjurer. 

Every schoolboy knows what a “sucker” is; viz.: 
a disc of sole leather with a string passing through its 
centre, and having, when wetted, the quality of adher¬ 
ing to any smooth surface against which it is firmly 
pressed, by reason of the weight of the atmosphere. 
It is some years since the principle was embodied in a 
little contrivance (a red rubber cup, to the convex side 


Later Magic 79 

of which was attached a hook) for suspending light 
articles against the glass of shop-windows. 

It is only quite recently, however, that this useful 
principle has been pressed into the service of the con¬ 
jurer. The credit of leading the way belongs, I believe, 
to our friends in America, to whom their brother 
wizards have been indebted for many ingenious con¬ 
trivances. So far as I am aware, it is as yet only 
made use of for two purposes, viz.: for vanishing and 
reproducing a billiard-ball in the hand, and as the 
terminal of a pull. I have little doubt, however, that 
other uses will speedily be found for it. 1 

For ball-conjuring purposes, the apex of the little 
rubber cup, or hollow cone, which is seven eighths of an 
inch in diameter, is furnished with a loop of gut, large 
enough to go easily over the forefinger. (See Fig. 66.) 



Fig. 66 . 


If the concave side of the cup is slightly moistened, a 
billiard-ball pressed against it will require a direct pull 
of considerable strength to dislodge it, though it may 
be detached in a moment by lifting the edge of the 
rubber with the thumb or finger. 

If the loop be passed over the forefinger as in Fig. 67, 
the ball can be instantly transferred from the palm to 

1 For another suggested use of the same principle (the suspension 
of the servante), see ante , p. 21. 


8 o 


Later Magic 


the back of the hand, and vice versd, enabling the per¬ 
former to show the hand empty, and yet the next 
moment to produce a ball from it. 



It should be mentioned that the sucker is only effec¬ 
tive with objects having a polished or enamelled sur¬ 
face. With a cork ball, for instance, it would be quite 
useless, because the roughness of surface would pre¬ 
vent absolutely air-tight contact. For moistening the 
cup, by the way, glycerine is preferable to water; as 
from its viscid nature it tends to promote such perfect 
contact. 

Where the sucker is used as the outer end of a pull, 
it is attached to about six inches of fine gut, and this 
again to a piece of cord, elastic or otherwise, according 
to the nature of the pull. It is most useful perhaps in 
connection with the well-known form of rubber pull in 
which the object to be vanished is drawn between the 
coat and vest of the performer, under the left arm. 
Such a pull, armed with a sucker, can be instantly at¬ 
tached to a billiard-ball, an egg, or a champagne tum¬ 
bler, 1 and will vanish it in the most satisfactory 
manner. 


1 This particular vanish is a speciality of Mr. Maurice Garland. 





Later Magic 


81 


It may also be used for coins, if they are well worn; 
with new ones its action is not quite so certain; espe¬ 
cially if the sucker is applied to the obverse side, which 
in many coins, by reason of the intricacy of the pattern, 
has a rather rough surface. 

THE BALL CLIP. 

This (one of Messrs. Hamleys’ specialities) is another 
very simple little piece of apparatus, but of great 
utility. It is of brass wire, bent and brazed into the 
form shown in Fig. 68, being practically that of a horse¬ 
shoe each of whose arms terminates in a 
hoop about one and three quarters of an inch 
in diameter, though the size may vary, ac¬ 
cording to the object to be supported. From 
the central point of the horseshoe projects 
a straight wire stem, the end of which is bent 
into a very sharp hook. This hook enables 
the performer to attach the clip behind a p IG . 68. 
chair or table, or to any part of his own 
garments, the two rings receiving between them the 
billiard-ball, egg, or other like object which it is desir¬ 
able to have instantly accessible. The ball is held in 
perfect security, and yet a touch dislodges it when 
needed. 

THE VELVET CHANGING BAG. 

I am again indebted to Messrs. Hamley for the know¬ 
ledge of this, which is also one of their “specialities,” 
and one of the most recent additions to the armoury of 
the magicians. Even the professional performer need 
not disdain, upon occasion, to avail himself of its assis¬ 
tance; while to the numerous class of amateurs who 
6 




Later Magic 


put their trust in apparatus, rather than in their own 
skill, it should be extremely valuable. 

In appearance (see Fig. 69) it is a handsome bag 
about five inches across by seven deep, of crimson 
velvet or plush, and mounted on a ring to which is 
attached a polished mahogany handle, about a foot 
long. The performer turns the bag inside out, reveal¬ 
ing nothing but a very innocent-looking black lining. 
There is no sign of any inner pocket, or anything else 
of a suspicious character, but notwithstanding, articles 
dropped into the bag are changed in a most mysterious 
way. Thus a white ball dropped into the bag becomes 
a red one; a knotted cord is reproduced free from 



Fig. 69. 


knots, while a damaged handkerchief entrusted to the 
keeping of the bag is instantly restored. In fact, 
there is scarcely any limit to the number and variety 
of the transformations that may be effected by its 
means. 

An inspection of Fig. 70 will lead the reader half¬ 
way to a knowledge of the secret. This lies mainly in 




Later Magic 


83 


the ring and handle, of which this diagram shows the 
construction. 



Fig. 70. 


The handle, a b c, is in two portions, that between the 
points a and b being hollow. Through this portion 
passes a stiff wire rod, one end of which is firmly at¬ 
tached to the solid portion, b c, of the handle, and the 
other to one extremity of a half-ring, dd, the other 
extremity of such half-ring being pivoted into the whole 
ring, eee , so that, by twisting b c accordingly, this half 
ring can be brought to either side, as may be desired. 

The bag, besides its lining proper, has also a half or 
dividing lining, the upper edge of which is stitched to 
the half-ring. This, therefore, when turned to the one 
side or the other, carries this inner lining with it, mak¬ 
ing it lie against the corresponding side of the bag. 

We will suppose that a given article is privately 
placed in the bag, the half-ring being in the position 
shown in Fig. 70. A half-turn of b c causes the half-ring 
to perform a semi-revolution within the bag, shifting 
the false lining over to the opposite side; and shutting 
in the article just placed therein between the false and 
the true lining. The bag may now be turned inside 
out, and will appear to be empty. Some other article 
being borrowed and dropped in, and a half-turn in the 






8 4 


Later Magic 


reverse direction given to the handle, this last article 
is in turn shut in between the false and the true lining, 
and that first put in is revealed, the one having ap¬ 
parently changed into the other. 

The manifold uses of such an appliance are almost 
self-evident. These are by no means limited to ostensi¬ 
ble transformations, for which indeed the bag should 
be but sparingly used. Its more artistic function is to 
effect secret changes, the article placed therein being 
exchanged for another of similar appearance, while the 
genuine one remains in the bag, to be carried off and 
dealt with as may be needful for the purpose of the 
intended denouement. 


CHAPTER III. 


A SPECIAL TABLE AND SOME TRICKS PER¬ 
FORMED BY ITS AID. 

ITPI the aid of the appliances described in re- 



V V ceding sections, the performer should, at any 
rate for a short drawing-room “show,” require nothing 
further in the way of stage furniture. Where, however, 
he has a free hand as to his scenic arrangements, a 
table of his own is an immense assistance. I do not 
now refer to the imposing centre- or side-tables which 
were in vogue in the days of Robert-Houdin, or even to 
the less elaborate pieces of furniture which survived to 
the time when Modern Magic was written, and, to a 
certain extent, are even now used. Simplification is 
the order of the day, and the more completely a con¬ 
jurer can, at any rate in appearance, abjure mechanical 
aids, the more highly will his performance be appre¬ 
ciated by experts. But he must have something 
whereon to place the various articles made use of in 
his show, and this being so obviously necessary, the use 
of a single small table, round or square, as the case 
may be, excites no suspicion. 

The table I am about to describe I regard as one of 
the most valuable accessories, if not the most valuable, 
which a conjurer can possess. It is a good many years 
since it was first invented, but the few who were privi¬ 
leged to use it guarded the secret with almost masonic 


86 


Later Magic 


caution, and it has till now remained practically un¬ 
known to the great majority of magical performers. 
It was the joint invention of Robert Heller, a brilliant 
performer now, alas! gone to his rest, and Professor 
De Vere, formerly well known as a magician and 
maker of conjuring apparatus in London. 1 I gained 
my knowledge of it from the latter, under a pledge of 



Fig. 71. Fig. 72. 


secrecy, from which, fortunately for my readers, I am 
now released. 

The table may be either of the “gipsy” form, as 
illustrated in Fig. 71, or mounted on a central pillar, 

1 Professor De Vere has so long disappeared from sight, so far 
as London is concerned, that I find a very general impression that 
he, too, has “ joined the majority.” I am happy to be able to cor¬ 
rect that idea. Professor De Vere, after a sojourn of some years in 
Brussels, migrated to Paris, where he has acquired the good-will of 
the famous atiliers of Messrs. Tissot and Voisin, and is now doing 
a flourishing business (wholesale only) in the neighbourhood of the 
Folies Bergere. 




Later Magic 


87 


as in Fig. 72. The first named has perhaps the ad¬ 
vantage in point of portability, as the top may be made 
to lift off and the legs to divide at the centre; in which 
condition the whole may be packed into a very small 
compass. The table shown in Fig. 72 may also be made 
to take apart, but the process is a little more compli¬ 
cated. In either case the table top is of wood, covered 
with black velvet, on which is embroidered in narrow 
silk braid of some bright colour (yellow for choice) a 
geometrical pattern. The pattern shown in Figs. 71, 73 



Fig. 73. 


was devised by myself for my own use, and was found 
to answer the purpose extremely well. Figs. 74 and 
75 depict other designs, which may be useful by way of 





/ 



Fig. 74. 



Fig. 75. 
83 















Later Magic 


89 


suggestion. Herein, however, the performer may fol¬ 
low his own fancy, so long as the table top is broken 
up by intersecting lines into spaces of a convenient size 
and shape to be treated as will presently appear. In 
one or more of such spaces, the velvet and the wood 
beneath it are cut away just within the braid, as 
shown by the darkened portions in the diagrams. A 
pocket of black velvet, about four inches deep, is then 
inserted into the space and its upper edges glued to 
the wood. It will be found that the opening thus 
made is, by artificial light, undistinguishable from the 
surface of the table, even at so short a distance as 
three or four feet; the effect to the spectator being 
that the surface is unbroken. A silk or woollen fringe, 
of the same colour as the braid, and five inches deep, 
round the edge of the table top, prevents the pocket 
being seen from below. 1 

The performer has thus in effect one or more in¬ 
visible holes in his table top. The expert will readily 
appreciate the advantages of such an arrangement. A 
billiard-ball, say, is placed close to one of the openings. 
The performer ostensibly picks it up, and comes for¬ 
ward with it to the spectators. As a matter of fact, 
just as the hand reaches it, a touch with the little finger 
sends it over the hole, and it falls noiselessly into the 

1 The pockets need not be left permanently open. Each piece of 
wood cut out of the table top should be carefully preserved, rubbed 
down with glass-paper, and covered with black velvet. Thus 
treated, it will form a sort of plug, whereby the hole whence it was 
taken may be closed at pleasure. The table in this condition may 
stand habitually in a drawing-room, without any one observing 
anything abnormal about it. 

When giving a “show,” only the pocket or pockets which the 
performer proposes to use should be opened, the others remaining 
closed. 


9 o 


Later Magic 


pocket, the hand closing, apparently on the ball, in 
reality upon empty space. 

I myself carried the idea a step farther, so as to 
make the table available for productions as well as dis¬ 
appearances. For this purpose the table was con¬ 
structed as shown, in section, in Fig. 76. On the under 



side of the table top, a a, is a wooden collar, b b. Into 
this fits a cylindrical cup, c , corresponding, as to inter¬ 
nal diameter, with a circular opening, d, in the centre 
of the table top. This cup forms an extension of the 
supporting pillar of the table. Through the whole 
length of such pillar passes an iron rod, e, bearing on its 
upper end a wooden disc, /, forming a sort of piston 
loosely fitting the cup. The top of / is covered, as is 
also the inside of c, with black velvet, the central open¬ 
ing corresponding with the pattern on the table top. 
The outer edges of / are polished, to minimize friction. 












Later Magic 


9i 


To the lower end of the rod e is attached a cord 1 
passing over two pulleys, g, h, in the leg of the table, 
and thence passing through or across the stage to the 
hand of an assistant. When this cord is pulled e rises, 
bringing the disc or trap f flush with the surface of the 
table, and thus “producing” anything that may have 
been hidden within the cup. 

When the pull is relaxed, the weight of the rod causes 
j to sink down again v to its normal position. 

A performer of any ingenuity will find almost un¬ 
limited uses for a table of this description. Thus, after 
vanishing a glass of water at some other part of the 
stage, he may turn a borrowed hat mouth downwards 
on the table, and cause the glass to reappear under the 
hat. Or, in place of the hat, he may spread a borrowed 
handkerchief over the table, then, nipping its centre 
between the finger and thumb, he may slowly raise it, 
the glass or other article rising simultaneously under 
cover of the cone thus formed. Again, placing a 
billiard-ball on the table just in front of the opening 
and gently fanning it, he may change it into two, the 
supplementary ball rising in the centre of the table 
under cover of the fan. Or, showing a red billiard- 
ball, and covering it with a handkerchief, held as above, 
he may change it to a white one, the red ball being got 
rid of into one of the side pockets; and the white one, 
under cover of the handkerchief, rising on / in its place. 
Or again, under cover of the fan the table may be made 
to cover itself and overflow with an almost incredible 
number of “ spring” flowers (in the mechanical sense); 

1 What is known as “snood-line” is the best for any purpose of 
this kind. It is smooth, lissom, and compact, and works with a 
minimum of friction. 


92 


Later Magic 


all that is necessary being to pack them, with due care, 
into the cup c beforehand. 

If the performer prefers to work without an assistant, 
it would be an easy matter so to arrange the table that 
the pull should be brought into action by the release of 
a counterweight behind (or within) the pillar of the 
table . 1 In this case the trap would of course not sink 
down again, but in most cases it is better that it should 
not do so. Where (in the former working) it is desired 
to keep it elevated, this may be done by passing the 
cord round a cleat. 

As a most valuable adjunct to the table in question, I 
may here take the opportunity of calling attention to 

THE BOTTOMLESS TUMBLER. 

This is an ordinary glass tumbler, from which the 
bottom has been cut out. I had a tumbler thus 
treated for my own use, and for some years believed 
myself to possess a monopoly of the idea. It has, 
however, for a long while past been common property; 
and in truth, the utility of such an appliance is so 
obvious that it may well have been invented, and re¬ 
invented, half a dozen times over. 

To give an elementary example of its use; the glass 
may be held in the hand, either resting on the palm, 
or with a finger crossing the lower opening. A billiard- 
ball, say, is dropped into it, plainly in view. A bor¬ 
rowed handkerchief is now thrown over it, and the 
glass (with the other hand) placed on a table, the ball, 
ostensibly so safe within, being left comfortably 

1 This might take the form of a piece of leaden tube, encircling 
the centre rod. 


Later Magic 


93 


palmed in the hand which first held the glass, to be dis¬ 
posed of at pleasure. An egg or a folded handkerchief 
may be dealt with in like manner. 

The German magical serial, Die Zauberwelt, suggests 
a modification which appears to be, for certain purposes, 
an improvement; viz.: instead of removing the whole 
bottom of the glass, to remove the central portion only, 
leaving a rim, half an inch or so wide, all round. This 
reduction of the size of the opening permits of an egg 
being laid lengthwise in the tumbler, and shown round 
therein, without placing the hand beneath. The ends 
of the egg rest, so long as it is kept horizontal, on the 
edges of the opening, but the moment the glass is tilted, 
in ever so slight a degree, the egg falls through as 
readily as though the whole bottom of the glass were 
wanting. A gentle shake, professedly to show by the 
sound that the egg is still in the glass, will instantly 
dislodge it. 

The glass may even be so arranged as to enable the 
performer to prove its unpreparedness by half filling it 
with water before showing the trick. To enable him to 
do this, the bottom of the tumbler must be ground 
mathematically flat, and a disc of thin glass cut pre¬ 
cisely to the shape of the bottom. The glass, with its 
lower edges lightly smeared with vaseline, is then 
pressed down upon the loose bottom, which will adhere 
to it. The glass so arranged will be for the time quite 
water-tight, so long as the loose bottom is kept from 
shifting. A finger below the glass will make all secure 
in this respect. When the performer has poured away 
or drunk the water, it is but natural that he should 
wipe the glass, when the movable bottom may be left 
in the cloth used in the drying process. 


94 


Later Magic 


I shall have more to say with regard to the bottom¬ 
less tumbler in relation to “egg and handkerchief” 
tricks, when I reach the appropriate section. Its great¬ 
est value, however, is in connection with the table de¬ 
scribed in the earlier part of this chapter. Indeed, the 
one may almost be said to be the complement of the 
other, from the extraordinary facility the two com¬ 
bined afford for the “ vanishing” of small objects. An 
egg or billiard-ball, say, is placed in the glass as it rests 
on the table beside one of the pockets, and the glass is 
covered with a handkerchief. (In such cases, by the 
way, it heightens the effect to secure the handkerchief 
by stretching a rubber band over it, round the rim of the 
glass.) The glass has then only to be moved an inch 
or so in the direction of the pocket; the article goes 
“down trap,” and the glass is empty. 

This, however, is only one of many uses. As a fur¬ 
ther illustration I cannot perhaps do better than de¬ 
scribe a little trick of my own, which depends mainly 
on this particular combination. It appeared in my 
programmes as “Concatenation Extraordinary,” and 
puzzled a good many, even of the initiated. 

Its effect, baldly stated, is as follows: A number of 
metal links, iron or brass, are handed round on a small 
salver, with a request that some one in the audience 
will count them. They are found to number, say, 
thirty. The performer pours them into a tumbler 
which is standing on his table, and stirs them about 
with his wand. Then laying aside the wand, he dips 
the hand into the glass and takes out a link. Strange 
to say, another follows it, and another; the whole hav¬ 
ing somehow formed themselves into a chain. The 
links are counted, and the number found to corre- 


95 


Later Magic 

spond with that of the loose links previously shown. 
The tumbler is turned upside down, and seen to be 
empty. 

To prepare for the trick, get a piece of chain such as 
would be used to hold a good-sized dog, and about four 
feet in length. Divide this in half, and with a couple 
of pairs of pincers separate the links of one half, again 
bending back each link to its original condition, so that 
they cannot possibly again be joined without mechan¬ 
ical aid. The number of loose links must exactly cor¬ 
respond with those still connected. Attach to one end 
of the latter a black silk thread about two feet in length 
and place it in one of the pockets of your table, leaving 
the thread outside. Pass the latter from below up¬ 
wards through the bottomless tumbler. Place this 
beside one of the pockets; then draw the thread till the 
uppermost link of the chain comes level with the surface 
of the table, and at the point where the thread, thus 
drawn taut, just reaches the edge of the table top, tie 
on it a small black bead. This done, release the 
thread and tie its free end to a nail-head or very small 
screw-eye driven into the edge of the table. Close 
beside this screw-eye (which should be on the right side 
of the table, as viewed by the audience) fix a tiny 
cleat. A lady’s black dress-hook, pressed nearly flat, 
will answer the purpose, its object being merely to fix 
the thread when desired, instantly and securely, at the 
point indicated by the bead. 

These preparations made, and the loose links duly 
laid on a plate or salver, with a second in reserve, the 
performer is ready to show the trick, which he may 
introduce somewhat as follows: 

“You are probably aware, ladies and gentlemen, that 


9 6 


Later Magic 


one of the favourite manifestations of the spiritualists 
is the passage of one solid body through another. It 
sounds rather mysterious, but I can assure you that 
it ’s the easiest thing in the world, if you only know 
how it’s done. 

“ I have here a number of links of a chain,—thirty, to 
be exact 1 —each one solid and separate. Will you 
kindly examine them, and see if, by any exertion of 
force, you can link two of them together. Count them, 
please, on to this other tray. You find exactly thirty? 
Good! Now, for the greater convenience of the spirits, 
we will place them in this tumbler.” (He holds up the 
glass, a foot or so above the table, the loose thread not 
interfering with this, and replaces it, just in front of 
the pocket wherein the chain is.) “You know spirits 
always feel more at home in a tumbler. Take notice 
that I put the links fairly in the glass.” (He drops 
them in, half a dozen at a time.) “Now we will stir 
them up a bit, so as to get them thoroughly mixed with 
the spirits. This gradually dematerializes them, in 
fact, they are getting soft already. Spirits do have 
that effect, particularly if you take too much of them.” 

During the delivery of the last few sentences the 
performer has taken up his position behind the table, 
and has been stirring the links with his wand, held in 
the right hand. Meanwhile the left hand gets hold of 
the thread, pulls on it till the bead comes in sight, and 
hitches this under the little cleat. 

The thread, thus drawn taut, describes a straight 
line from the edge of the tumbler to the cleat. The 
performer now lays aside the wand, and dips his hand 
into the glass to take out a link. In so doing he 
1 Or whatever the actual number may be. 


97 


Later Magic 

pushes the glass slightly backward so as to bring the 
lower edge of the tumbler just over the edge of the 
pocket. A slight pull or pressure with the left hand 
on the thread causes the end of the chain to rise 
through the loose links into the tumbler, where it is 
seized by the fingers of the right hand and drawn 
slowly up, the left hand meanwhile grasping the glass 
and moving it gently round and round, as if to con¬ 
tinue the mixing of the links, but in reality to allow 
them to sink gradually down into the pocket of the 
table. The right thumb pushes the thread off the top 
link (the thread should be attached loosely with a view 
to this). The performer leaves the glass on the table, 
and brings forward the chain, that it may be examined, 
and the links counted. He may conclude with a mild 
joke, as follows: 

“ I have only been able this evening, ladies and gentle¬ 
men, to show you this experiment on a very small 
scale, but size is no object. If any gentleman will 
bring me some larger links,—the links of a chain cable, 
if he likes,—I shall be happy to unite them in the same 
manner. Did I hear somebody suggest golf links? 
Certainly, sir; nothing easier. You have only to bring 
them, any evening you like, and I will undertake to 
join them together.” 

I may mention that by the aid of the mirror glass, de¬ 
scribed at p. 42 it is possible to produce a similar effect 
in a much simpler way. The glass must, in this case, 
be of the reversible kind, with double mirror; and the 
chain must be at the outset concealed in the hinder com¬ 
partment. The performer, after the loose links have 
been examined, drops them, three or four at a time, 
into the front compartment. He then lifts the glass 


9 8 


Later Magic 


and places a plate beneath, ostensibly to cut off all 
connection with the table. In so doing, he gives the 
glass the necessary half-turn. The chain is now in 
front, and may be produced at leisure, the glass being 
left apparently empty. The trick is in this case less 
convincing than by the original method, inasmuch as 
the glass cannot be turned upside down at its conclu¬ 
sion, but as, to the eye of the spectator, it appears 
clearly empty, this is not a very serious omission. 

Or again, the trick being worked by the more elabo¬ 
rate method first described, the mirror glass may be 
utilized for an additional effect. The glass should in 
this case have in its hinder compartment a second 
chain, and, thus loaded, be placed on a second table, at 
some little distance. Having “ joined’’ the first set of 
links and submitted the resulting chain for examina¬ 
tion, the performer lays the latter, gathered up together, 
just in front of a second “pocket” in the table he has 
been using. Passing to the other table, he lifts up the 
loaded mirror glass, replaces it, without turning, and 
covers it with a handkerchief. Remarking that the 
chain is as yet so lightly materialized that it will pass 
just wherever he wishes, he picks it up, apparently, be¬ 
tween his hands (really letting it fall into the table- 
pocket), and, advancing to the second table, holds the 
hands over the glass, and rubs them one against the 
other as if rubbing the chain away. After a few 
seconds, he shows the hands empty, and, nipping the 
partition through the handkerchief, lifts both together, 
revealing the chain in the glass. To produce the 
maximum of effect, the sleeves should be drawn back 
before (apparently) taking the chain in hand. 

As in this case the reproduced chain is brought for- 


Later Magic 


99 


ward in the glass, which is obviously without prepara¬ 
tion, the audience are all the more firmly persuaded, if 
indeed they needed persuasion, that the glass first used 
was of the like innocent character. 

While upon the subject of this particular trick, I may 
take the opportunity to describe yet another method, 
the invention of my friend Mr. David Devant, for pro¬ 
ducing a similar effect. The links are in this case of 
lighter make, being about the size of a finger-ring, 
nickel-plated, and brought in by the performer in a 
wine-glass, held in his right hand. He pours them out 
upon a tray. Then, ‘taking them in the left hand, he 
drops them back again one by one, suggesting to the 
ladies that they will find this a very good way of work¬ 
ing the familiar “loves me, loves me not” oracle. 
Having thus shown that the rings are unconnected, he 
transfers the glass to the opposite hand, and forthwith 
draws them out again in the form of a chain, leaving the 
glass empty. 


a 



Fig. 77. 


The secret lies in the glass, which has one foot only, 
but two bowls, as shown in Fig. 77. Each of the 
bowls, a, b , has about half an inch of stem, and these are 
fused together at right angles. At the upper part of 
the stem (in the foot portion) an eyelet is formed. To 



IOO 


Later Magic 


connect the stem with the bowls, a piece of wire is 
passed through this eyelet, and round the two glasses 
at their point of juncture. A loose hinge, so to speak, 
is thus created between the two portions of the appar¬ 
atus, and either bowl may in turn be made to take the 
vertical position, the other sticking out horizontally by 
its side, the foot portion remaining throughout perpen¬ 
dicular. 

When the glass is first shown, the loose rings are in a, 
and the chain in b, which, the stem of the glass being 
held between forefinger and thumb, rests naturally 
within the hand, the palm closing its mouth. When 
the performer transfers the glass from hand to hand, 
he covers the mouth of a with the previously empty 
hand, and brings it quickly down into the palm, b in 
turn assuming the vertical position. 

But to return to the Heller and De Vere table. An¬ 
other effect, for producing which this and the bottom¬ 
less tumbler co-operate very neatly, is the magical 
production of a rose. The performer takes a rose from 
his button-hole, and announces that he will pass it into 
the tumbler, which is seen standing on the table. The 
rose vanishes from his hands, but the tumbler remains 
empty, and there is a quiet smile at his expense. “ Ah! 
you think I have failed,” he remarks, “but that’s a 
thing I never do. To pass the flower into the glass I 
was compelled to dematerialize it, and it will take a few 
moments to materialize it again.” He raises the glass 
a few inches and replaces it, in order to emphasize the 
fact that it is empty. “The process is quickened by a 
current of air. Will somebody oblige me with the loan 
of a fan? ” A fan having been procured, he proceeds 


Later Magic 


IOI 


gently to fan the glass, wherein after a moment or 
two the rose appears. He takes it out, and presents it 
to the lender of the fan in acknowledgment of her 
courtesy. 

With the reader’s present knowledge, the trick will 
require but little explanation. There are two roses, as 
like each other as possible. The first the performer gets 
rid of by palming. The stalk of the second is passed 
into a small loop at the end of a black silk thread. 
Rose and thread are then lowered through the glass 
into one of the pockets of the table. (This pocket, by 
the way, must be of a size rather smaller than the 
circular opening at the bottom of the glass). The 
opposite end of the thread is led over the edge of the 
glass to the hand of an assistant behind the scenes. 
By gently pulling, he causes the rose to rise into the 
glass, the movement of the fan in front of it effectually 
masking the manner of its appearance. 

It will be found a good plan to cover the mouth of the 
glass with a paper weight, or a small but heavy plate, 
professedly as an additional proof of “no deception,” 
but in reality to keep the glass steady during the 
operation. 


CHAPTER IV. 


THE MAGIC WAND AND TRICKS THEREWITH. 


THE PRODUCTION OF THE WAND. 


HE wand being the symbol, and professedly the in- 



1 strument, of the wizard’s power, he cannot more 
appropriately commence his performance than by some 
feat which appears directly to attest its magical 
qualities. One of the most effective “manifestations” 
of this kind is to come forward empty-handed, and 
make the wand appear, so to speak, from nowhere. 
The arch-wizard Robert-Houdin has described a very 
simple method for producing this effect. 1 At one end 
of the wand is a minute metal ring, to which is at¬ 
tached a black thread, a trifle longer than the wand 
itself. The other end of the thread is fastened to the 
right sleeve of the coat, just inside the cuff. Thus at¬ 
tached, the wand rests (ring end upwards) within the 
sleeve, the performer of course taking care not to slope 
the arm downwards till the right moment. When he 
desires to make the wand appear, he has only to extend 
the arm with a quick outward sweep, when centrifugal 
force at once shoots it into his hand. 

Where this method of production is adopted, it will 
be found an improvement to dispense with the little 
ring, and in place of it to bore a minute hole through 
1 The Secrets of Conjuring and Magic, pp. 302, 303. 


102 


Later Magic 


103 


one end of the wand from side to side. The thread 
(which should in this case be double the length of the 
wand) is passed through this hole, and its two ends, tied 
together, secured to the sleeve. When the loop thus 
formed is broken the wand will come away “ all clear.” 

Another effective way of producing the wand is for 
the performer to draw it out of his purse, explaining 
that being in company with mixed gold and silver tends 
to keep up its magnetic force, or giving any other sham- 
scientific reason for adopting so peculiar a method of 
safe-keeping. 

To produce the desired effect, all that is needed is a 
small purse of the “bag” kind (see Fig. 78), the lower 



Fig. 78. 


seam of which has been ripped open. The wand lies 
till needed in the left sleeve, kept from falling out by a 
slight flexure of the second and third fingers. The 
purse is placed in the trouser-pocket on the same side, 
with the open seam upwards. In the act of placing the 
hand in the pocket to take out the purse, the end of the 
wand is introduced into the opening. The purse being 
then shown, is opened in the ordinary way, and the 
wand taken out of it,—being in reality drawn through 
it. If the performer stands with his left side towards 
the spectators, and uses due care as to his position, the 
arm masks the wand, and no one can possibly see 
that it comes from the sleeve. 





104 


Later Magic 


Another arrangement which may be adopted for 
magically producing the wand is to place it in a clear 
glass decanter on the performer’s table, its upper end 
projecting above the neck. The wizard, on coming 
forward, finds that he has somehow mislaid the talis¬ 
man without which he is powerless. He looks about 
on all sides, but in vain, till the wand itself calls atten¬ 
tion to its presence by rising and falling an inch or so 
and so rapping inside the decanter. Delighted to re¬ 
gain the instrument of his power, the performer holds 
his hand ten or twelve inches above the decanter, 
simply saying “Come.” The wand obeys, rising 
spontaneously into his hand. Wand and decanter 
may be submitted to the closest inspection, but nothing 
whatever is found to account for their remarkable be¬ 
haviour, which to the uninitiated remains an inscrutable 
mystery. 

The expert will appreciate the novelty of the effect, 
though it depends merely upon a new use of a very old 
friend of the wizard,—a black silk thread. The thread 
in this instance is attached to the lower end of the 
wand, the remainder of the silk being led away over 
the neck of the decanter, through an eyelet on the 
table top, to the hand of an assistant behind the 
scenes, who pulls as may be required. (See Fig. 79.) 

The best method of attaching the thread is- to pass it 
through the eye of a stout needle, making a knot on 
the opposite side. The needle, broken off to half its 
length, is then inserted into a hole, just large enough to 
receive it loosely, bored in the lower end of the wand 
in the centre of its circular section. (See detail dia¬ 
gram, A, Fig. 79.) While the thread is in operation this 
is perfectly secure, but the moment the wand is taken 


Later Magic 105 

hold of by the performer, the needle drops out by its 
own weight, and is drawn away with the thread. 



My readers will doubtless recall a very similar trick, 
in which an open penknife is made by the same means 
to rise and fall in a champagne bottle, but the applica¬ 
tion of the principle to the production of the wand is, 
I venture to believe, an entire novelty. 

THE SELF-SUPPORTING WAND. 

The performer having produced the wand, either by 
magical means, or by the more prosaic method of bring¬ 
ing it on openly with him, he may next proceed to 
demonstrate its mystic qualities. Here, by the way, 
he may take the opportunity to deliver, with all possible 
gravity, a little discourse of a pseudo-scientific charac¬ 
ter, say as follows: 

“Many people imagine, ladies and gentlemen, that 
the conjurer’s wand is merely carried for the look of the 
thing, as ladies carry their fans, or life-guardsmen 
their ‘swagger-sticks.’ Allow me to assure you that 
such is not the case. The magic wand is made of a 








io6 


Later Magic 


very rare and peculiar description of wood, and pos¬ 
sesses still more rare and exceptional qualities. 

“ The wood of which it is made is that of a particular 
kind of rose-tree. As you are no doubt aware, there 
are many descriptions of rose. In Africa, for instance, 
they have the red rose, the white rose, and the negroes. 
In England we have the primrose and the hedgerows. 
Herrings have hard roes and soft roes, and even in this 
room we have the front rows and the back rows. None 
of these, however, is the kind of rose I mean. Not to 
keep you longer in suspense, the wood of which the 
wand is made is that of the dog-rose, produced by 
grafting on an ordinary rose the hind leg of a healthy 
dog. It must be done in the dog-days, and the result 
will be the genuine magical dog-rose. I have never 
seen it growing, but I am told that you can always dis¬ 
tinguish it by the peculiarity of its ‘bark,’ and by the 
fact that its branches are not mere ordinary boughs, 
but bow-wows. It is of the wood of this remarkable 
tree—this ‘rum shrub,’ if I may be permitted the ex¬ 
pression—that magic wands are made. In fact, any 
other wood wouldn’t do. 

“I am sorry to perceive a sceptical expression on 
some of your faces, and I am almost afraid you don’t 
quite believe what I am telling you. However, even 
if you doubt my statement as to the origin of the 
wand, I can easily satisfy you as to its extraordinary 
properties. 

“Among other peculiarities, it is extremely sensitive 
to animal magnetism. This, no doubt, is on account of 
the amount of dog in the rose, and the fact leads to 
some very curious results. For instance, you have all 
heard of the law of gravitation, meaning, in plain lan- 


Later Magic 


107 


guage, that if you don’t hold a thing up it will fall down. 
If an old lady drops her umbrella in the street, you will 
often hear her exclaim, ‘ Oh! law! ’ an instinctive trib¬ 
ute, though she may not know it, to the law of gravi¬ 
tation. Everything on earth is subject to that law, 
except—the magic wand. 

“See, I merely make one or two mesmeric passes 
over it, and then let go. Anything else would fall, but 
the wand remains suspended by magnetic attraction, 
floating in air without any support. (See Fig. 80.) 



Fig. 80. 


I take it between my finger and thumb, so; I open 
them, but it still hangs suspended, this time in a verti¬ 
cal position. (Fig. 81.) Right hand, left hand, it is 
all the same thing. If the influence is strong enough, 
actual contact with the hands may even be dispensed 
with. I can place any object, this tray for instance, 
between, and you see that the wand still remains sus¬ 
pended. (Fig. 82.) 

“ To prove to you that this effect is not produced by 
anv mechanical means, any one is welcome to take the 
nd and tray straight from my hands, and to examine 
:m as freely as he pleases. 





io8 


Later Magic 


“As long as the animal magnetism lasts, the effect 
will continue, but the strain on the will is too great to 
be kept up for any length of time. 

“ Pray, don’t imagine that this is a trick, ladies and 
gentlemen. I have merely shown you this little ex¬ 
periment to prove to you that this is a real magic 
wand. I shall show you much more surprising things 
presently.” 



There are several ways of suspending the wand. I 
speak under correction, but I believe I may claim to 
have been the first to produce the effect with the wand 
in general use by the performer. The trick was 
originally exhibited by the Fakir of Oolu (Professor 
Sylvester) as an introduction to his Aerial Suspension. 
He used a light rod of black wood, about two feet in 
length. The secret, in his case, lay in the fact that at 
certain points in such rod were inserted short pieces of 
black wire, projecting from it about five eighths of an 









Later Magic 109 

inch; not quite at right angles to it, but each pair slop- 
ing slightly inwards towards each other. By laying the 
hands on the rod, and spreading the fingers between 
these points, a hold was obtained which made its hori¬ 
zontal suspension a very easy matter, or it could be 
suspended vertically by hitching one of the projecting 



I 

Fig. 82. 


points over the thumb or a finger. Of course a rod so 
prepared could not be handed for inspection. 

In another form of the trick, spring clips, sometimes 
one only, sometimes two, shaped as represented in Fig. 
83, duly blackened, and lined with black velvet, took 
the place of the fixed points. These could be slipped 
on and off the wand at pleasure, allowing of its being 
offered for examination, and in use served the same 
purpose as the wire points in Sylvester’s version. 





I IO 


Later Magic 


In a third form of the trick, worked with a walking- 
stick, the secret consisted in a piece of black silk thread 
attached to the stick at two points, a few inches apart, 



Fig. 83. 


the fingers being passed within the bight thus formed. 
Naturally, a stick so prepared could be suspended in 
various ways, but it could not be examined. To meet 
this difficulty, it was brought on in a wooden case 
which also contained an unprepared duplicate. This 
was first taken out and offered for examination, then 
put back in the case, and therein mechanically 
“changed” for the prepared stick, the arrangement 
being an admirable illustration of “how not to do it” 
in the presentation of a trick. 

A better plan, which held the field for some time, was 
to have an endless loop of black silk thread, of suitable 
length, passed over the performer’s head, and hanging 
down over his breast. The wand, being passed half¬ 
way through this, was pressed by the thumb and 
fingers of one or both hands against the silk, and so 
held in any desired position, much care, however, 
being needed in manipulation, lest the black thread 
should become visible against the white shirt-front. 

Another method was to have the thread attached by 
one end to the left wrist, and thence led up the left 
sleeve across the back, and down the right sleeve, 
terminating in a loop, which was passed, till needed, 
over the thumb. In showing the trick, the thumb was 







Later Magic 


hi 

withdrawn, and the wand passed within the loop in its 
place. The tension of the thread was in this case gov¬ 
erned by the position of the arms, the length being so 
regulated that, at the close of the trick, a complete 
extension of the arms should draw the loop out of 
sight, within the right sleeve. 

The methods above described are interesting as show¬ 
ing the gradual development of the trick, but all have 
their drawbacks, and may now be considered obsolete, 
the method I am about to describe producing the 
desired effect in a much more complete and satisfactory 
manner. The silk thread is still used, but in a different 
and more artistic way. 

A needle being threaded with the silk, which should 
be between four and five feet in length, is then passed 
through the front of the performer’s vest from within, 
on the right-hand side, at a point about level with the 
chain-hole, and an inch or so from it. When the needle 
comes through, it is again inserted an inch and a 
quarter below its point of exit, and passed through to 
the inside. The needle is now removed, leaving both 
ends of the thread hanging down inside the vest. These 
are tied together, and to them is attached a little 
cylindrical weight, about one and a half inches in 
length by three quarters of an inch in diameter, 
rounded at top and bottom to minimize friction. 1 This 
being allowed to slip down the performer’s trouser-leg 
and the vest buttoned, he is ready to show the trick. 

While delivering his introductory remarks, he holds 

1 The best way to make the weight is to fill a short length (say 
two and one half inches) of brass tube with molten lead, and file 
down the ends to the desired shape, finally inserting into one end a 
brass screw eye, whereto to attach the thread. 


I 12 


Later Magic 


the wand horizontally before him between the hands, 
supported by the pressure of the fingers on either end. 
In the course of his patter, the right thumb is slipped 
under the small portion of silk thread which lies outside 
the vest, and draws the thread out far enough to enable 
him to pass the wand within the loop thus formed. By 
pressing the wand outward against the silk with one 
or both hands (see Figs. 80, 81), he can now hold it 
suspended in any desired position. 

The thread cannot be seen at a short distance, even 
against a wand of light colour. If the wand is black, or 
has black mounts, and the thread is made to lie ac¬ 
cordingly, it is absolutely invisible. 

An especially good effect is produced by replacing the 
thumb by a circular Japanese tray, as shown in Fig. 82. 
One or the other hand being then shifted, and grasping 
wand and tray together, tilts them into a horizontal 
position, and offers them for examination, the tilting 
movement causing the thread to slip spontaneously off 
the end of the wand. The weight, being considerably 
heavier than the wand itself, keeps the thread con¬ 
stantly taut, however long or short the distance to 
which it may for the time being be extended. As soon 
as the wand is removed, the thread is again automatic¬ 
ally drawn close up to the vest. 

By the use of a little subsidiary sleight, the effect of 
the trick may be greatly enhanced. If the wand is 
sufficiently light (I have one made hollow for this par¬ 
ticular purpose), it may with a little practice be held at 
the extreme tips of the fingers of one hand, without 
any mechanical aid. To compass this, spread the 
fingers as widely apart as possible, the tips of the 
second and third lying upon the wand, and drawing it to 


Later Magic 


1 13 

you, the tips of the first and fourth against the wand, 
pressing it in the opposite direction. By means of 
these opposite pressures, a slight but sufficient grip is 
obtained, and the wand thus held may be waved about 
in various directions. The thumb takes no part in the 
operation. 

If the experimenter’s second and third fingers are 
long in proportion to the other two, he will find this 
sleight very easy. If, on the contrary, the four fingers 
are pretty nearly alike in length, it will be found pro¬ 
portionately difficult, as also if the hand is naturally 
dry. A touch of glycerine on the finger-tips, promptly 
wiped off again, will, however, neutralize the latter 
disability, and will in any case materially facilitate the 
performance of the trick. 

It is obvious that this mode of sustaining the wand 
does not allow it to be suspended in the variety of ways 
available by the thread method, but its special value is 
that in this case the performer can walk down among 
the spectators and allow them to take the wand directly 
from his hands, again “suspending” it the moment it is 
returned to him. Seeing clearly that in this instance no 
mechanical aid is employed, they are led, by conjurer’s 
logic, to the conviction that such has been the case 
throughout. 

As an appropriate sequel to the suspended wand 
effect, I will here describe a little illusion of my own, 
viz.: 


THE RAPPING WAND. 

As a further proof of the magical properties of the 
wand, the performer states that it will answer (by 


Later Magic 


1 14 


rapping on the table) any questions put to it, pro¬ 
vided only that they be such as can be answered by a 
simple “ Yes” or “No.” Three raps signify “ Yes,” and 
one rap “ No ”; while two mean ‘ ‘ Doubtful ” or “ Ask me 
an easier one,” after the approved spiritualistic fashion. 

To prove that the wand has no mechanical connection 
with the table, the operator brings forward and hands 
for examination an ordinary Japanese tray, circular, 
and in diameter about a couple of inches less than the 
length of the wand. (If this same tray has been 
already used in the course of the “suspension” of the 
wand, so much the better.) This, when returned, he 
places on the table, and lays the wand upon it, one end 
in the tray, the other projecting over the opposite edge 
in the direction of the spectators. (See Fig. 84.) He 



Fig. 84. 


himself stands quite away from it, and puts such ques¬ 
tions as may be desired, the wand replying by raising 
its forward end a couple of inches, and bringing it 
sharply down again on the edge of the tray. It will 
rap out numbers in like manner. If the performer is 




Later Magic 115 

expert in card-conjuring, the suit and value of a forced 
card may be thus named, with very good effect. The 
wand may be asked in how many years or months a 
given lady or gentleman will be married; how many 
children they will be blest with, and so on, the an¬ 
swers being given with all possible promptness; though, 
as prophecies, they may be a little unreliable. At any 
moment the wand and tray may be handed for exami¬ 
nation, but the utmost acuteness will not detect any¬ 
thing abnormal about them. 

The secret lies in the apparently unimportant fact 
that there are a couple of lighted candles on the table, 
about two feet apart, one on each side the tray (see 
Fig. 84). In one of the candlesticks (which should be 
fairly heavy) at a height of about three inches from the 
table is fixed a little hook, with its extremity pointing 
straight upwards. In the other candlestick, at the 
same height, is a little brass eyelet, say an eighth of an 
inch in internal diameter. A loop is made in the end 
of a piece of fine black silk, and passed over the hook. 
The other end is threaded through the eyelet of the 
other candlestick, and carried “behind the scenes” 
(which may be anywhere out of sight) to the hands of 
an assistant. When the performer is about to place 
the tray on the table the assistant draws the thread 
tight, giving room for the tray to be passed underneath 
it. This is done in such manner that three fourths of 
its diameter lie behind the thread. The thread is then 
slackened, and the wand laid upon the tray at right 
angles to the thread, its forward end projecting as al¬ 
ready described. The assistant now produces the raps, 
as desired, by alternately pulling and slackening the 
thread. 


Later Magic 


116 

At the close of the trick the performer moves the 
candlesticks a little farther apart, or nearer together, 
and in so doing detaches the loop from the hook, 
when the thread may be drawn away altogether by the 
assistant. 

This trick figured in my programmes as “ The Divin¬ 
ing Wand—A R(h)apsody.” It will be obvious that 
there are many other ways in which the intelligence of 
the wand may be tested; e. g., to make it declare the 
throw of a pair of dice, the order in which numbers 
are arranged in a box, etc. 

THE AUTO-GRAVITY WAND. 

The special wand which bears this imposing title is 
the invention of Dr. Elliott, a well-known and very in¬ 
genious American conjurer. It is a metal tube, a, 6, 1 
divided internally, as shown in section in Fig. 85, by 

c _ d 

g i x \ k 

Fig. 85. 

the sloping partitions c , d , into three compartments. 
The partitions, it will be observed, do not extend quite 
across the wand, but leave narrow passage-ways be¬ 
tween the centre and end compartments, such pas¬ 
sages being on opposite sides of the wand. Within the 
tube is a small quantity of mercury, which, according 
to the direction in which the wand is sloped, may at 

1 Dr. Elliott himself describes the wand as of metal, but, in view 
of the corrosive effect of mercury on most other metallic substances, 
I should imagine that wood, or even papier mdche would be a more 
satisfactory material. If the wood be of a fairly tough kind, a 
skilful turner would find no difficulty in boring it as desired. 




Later Magic 117 

pleasure be made to take up its position in either of 
the three compartments. If allowed to run, say into 
the end a, it is obvious that that end will become 
materially the heavier, and the wand may be balanced 
on the finger, or on the back of a book, after the un¬ 
natural fashion shown in Fig. 86. By letting the mer- 



Fig. 86 . 


cury run to the opposite end, that end will in turn 
become the heavier. 

A curious effect may be produced by laying down the 
wand with its loaded end on a table or chair, three parts 
of its length projecting beyond the edge, in impudent 
defiance of the law of gravitation. 

It need hardly be said that the performer should 
take an early opportunity of exchanging the wand for 
one of similar appearance, but less abnormal in its 
construction, as it cannot well be handled without be¬ 
traying its secret. 1 

1 Since the foregoing description was written, I have seen at 
Messrs. Hamleys’ depot a wand in which the same effect is pro¬ 
duced in a much simpler manner, and which can consequently be 
produced at much less expense. The wand is in this case of papier 
mdche, and is merely a hollow tube, closed at each end, with a 
cylindrical leaden plug, about two and one half inches long, fitting 
loosely within it. If either end of the wand is depressed, the weight 
naturally slides down to that end, and the same effects, as to 
balancing it in eccentric positions, can be produced with it as with 
the more expensive wand. 








Later Magic 


118 


THE CLIMBING RING. 

Some years ago I invented a stage trick to which I 
gave the name of “The Spiritualistic Ball and Ring.” 1 
The apparatus consisted of a rod of wood or metal, 
rising perpendicularly from a heavy stand or foot; a 
wooden ball, with a bore through its centre a trifle 
larger than the rod, and a wooden ring, of the kind 
used with curtain poles. Each item was submitted to 
the closest examination, and yet, on the performer 
dropping either the ball or the ring over the upright, it 
would rise, fall, or stop half-way as it might be com¬ 
manded. 

The secret lay in the fact that the performer, im¬ 
mediately before dropping the ball or ring (whichever 
was first used) over the upright, privately attached to 
the top of this latter one end of a silken thread, the 
opposite end of which was in the hands of an assistant 
behind the scenes. The ball in falling down the rod 
carried down with it the slack of the thread, by pulling 
which it could be made to rise or fall at pleasure. A 
wizard of a younger generation, Professor Ellis Stanyon, 
has recently devised a simpler but not less effective 
form of the same trick, which in its new shape may be 
offered as a further proof of the extraordinary proper¬ 
ties of the magic wand. 

The wand in this case (see Fig. 87) takes the place of 
the fixed upright, and a borrowed finger ring that of the 
wooden ring used in the older trick. The thread may 
be connected with the wand in various ways, but one of 
the best, in my opinion, is to use a wand made after 
a frequent magical pattern, with a nickel-plated mount 

1 See More Magic , p. 395. 


Later Magic 


119 

at each end. A cap, of very thin metal, and plated in 
like manner, as a in the diagram, is made of such a size 
as to be easily slipped over the mount, b. When in 
position it does not alter the 
appearance of the wand, and 
is therefore not noticeable, 
even at close quarters. At 
one side of this cap, near the 
closed end, is found a mi¬ 
nute hole, through which is 
threaded a piece of fine 
black silk, a little longer than 
the wand, secured by a knot 
on the inside. The opposite 
end of the thread is attached 
to the lowest button of the 
performer’s vest. The cap, 
till needed, may be tucked 
under the vest, or lie hidden 
just inside the vest pocket. 

Having handed the w~and 
for examination, the performer gets the cap into his 
right hand, and when the wand is returned to him slips 
its lower end into it. He then takes the wand (by the 
opposite end), in the left hand, so that the cap is now 
on its outer end. The slack of the thread is secured 
by the thumb, and, lying along the wand, is invisible. 
Holding the wand with the cap end upwards, he ad¬ 
vances to the holder of the borrowed ring, and invites 
him to drop it over the top. The trick is now 
practically done. The thumb having released the 
thread, by moving the wand a little farther from the 
body the thread is tautened, and the ring rises, as 














120 


Later Magic 


shown in the figure. By bringing the wand nearer 
to the body the thread is slackened, and the ring sinks 
again. The wand may, for the sake of variety, be 
held by the top instead of the bottom. The effect is 
the same. By making professed mesmeric passes over 
it with the opposite hand, the slight backward or 
forward movement is completely disguised. 

By way of finish, the left thumb again secures the 
thread. The outer end of the wand is lowered, the 
ring is allowed to slide off it into the right hand, and 
returned to the owner. The right hand then seizes the 
wand by the “cap” end, and offers it for renewed ex¬ 
amination. The act of taking it draws off the cap, 
which remains in the hand, and is got rid of without 
difficulty. 

If the performer uses a wand with ebony ends, black 
japan may be used for the cap in place of nickel-plating. 
As an alternative to the use of the cap, the necessary 
connection of the thread to the wand may be made by 
means of a needle attached to the thread, and dropped 
into a hole in the upper end of the wand, just reversing 
the arrangement of the wand rising in the decanter. 
(See p. 104.) The needle in this case, however, should 
not be broken, as the point enables it to be stuck till 
needed in some convenient part of the performer’s 
clothing. 


THE RISING AND FALLING WAND. 

The same arrangement of the wand may by a slight 
alteration in working be made to produce the reverse 
effect; viz., a borrowed ring being held stationary be¬ 
tween the finger and thumb, and the wand passed 


I 2 I 


Later Magic 

within it, the wand may be made to rest suspended 
without visible support, or to rise and fall at command. 

The wand being attached to the body by means of the 
cap and thread, as already described, is passed verti¬ 
cally downwards through the ring, but the end to which 
the thread is attached is in this case undermost. The 
ring now forms a fixed fulcrum, against which the 
thread works. By holding the ring so that the thread 
shall be just taut, the wand is kept stationary. By 
increasing or diminishing its distance from the body, 
it is made to rise or fall as desired. 

A word of caution may here be desirable. The wand 
should not be raised so high as to make its longer half, 
and consequently the greater portion of its weight, be 
above the ring, or it will topple over, and thereby 
‘‘give away” the trick. 

Another ingenious, but to my own mind not quite so 
satisfactory, rising wand is constructed as follows: The 
wand is hollow, with a movable cap on each end. 
This is of thin brass, nickelled, with a ring of the same 
material and depth beneath it, so that, whether the cap 
be on or off, the appearance of the wand is the same. 

To the centre of each cap on the inside is soldered an 
eyelet, and these two eyelets are connected within the 
wand by a piece of thin rubber, of such a length as to 
lie straight between them, but not drawn taut, when 
the caps are in position. 

When the performer desires to demonstrate the magi¬ 
cal quality of the wand, he takes it upright by the 
lower end in, say, the left hand, and secretly taking off 
the lower cap, passes it between the first and second 
fingers to the outside of the hand. With the other 


122 


Later Magic 


hand he then presses the wand down in a vertical direc¬ 
tion as far as it will go, holding it down against the pull 
of the elastic by the grasp of the left hand. 

With the opposite hand he then begins to make 
mesmeric passes over it, at the same time ordering it 
to rise, which the gradual relaxation of the fingers 
allows it to do. When it has reached its full elevation 
he replaces the cap on the lower end, and proceeds to 
use the wand for some other trick. 

SPECIAL WANDS FOR VARIOUS PURPOSES. 

WANDS FOR THE PRODUCTION OF HANDKERCHIEFS. 

Two or three forms of wand have been devised for 
the magical production of a small silk handkerchief, to 
be subsequently used in the performance of some other 
trick. 

One such wand consists of a thin metal tube, japanned 
or otherwise ornamented to match the wand in ordi¬ 
nary use. One end is permanently closed; to the other 
is adapted a metal plug (see a in Fig. 88) on the under 
side of which is fixed a tiny hook. The handkerchief 
to be produced is worked carefully into the wand, 
corners first. When the centre is reached, this is at¬ 
tached to the little hook, and the stopper replaced. 
By secretly withdrawing it at the proper moment, 
the performer gets the handkerchief into the hand 
without difficulty. 

Another and better pattern only differs from the 
above in the fact that a minute eyelet is substituted 
for the little hook, and the handkerchief is attached to 
it by a loop of thread, which is broken after the hand¬ 
kerchief has been produced. 


Later Magic 123 

The method of using wands of these makes is as fol¬ 
lows: The performer borrows a handkerchief and re¬ 
ceives it (or places it) with its centre on the prepared 
end of the wand, which is held upright in, say, the 
right hand. With the opposite hand he nips the centre 



cju 


Fig. 88. Fig. 89. Fig. 90. 

of the borrowed handkerchief and draws it off the wand, 
carrying off within it the little plug and the handker¬ 
chief attached thereto, which now hangs down inside 
the borrowed one. The wand, with its open end to the 
rear, is tucked under the right arm. The borrowed 












124 


Later Magic 


handkerchief is shaken a little, and then turned over, 
revealing the silken one within it. The two are now 
displayed one in each hand, after which it is an easy 
matter to detach the plug and to restore it to its 
normal position in the end of the wand. 

A third wand is constructed on the “pop-gun” prin¬ 
ciple, as illustrated in Fig. 89. Here a is a short tube, 
open throughout, and fitting on to one end of the wand, 
which is at that part turned thinner, as b, in order to 
receive it. The wand is prepared for use by drawing 
this little tube half-way off the wand, and loading the 
handkerchief into it; the performer concealing the tem¬ 
porarily altered appearance of the wand by keeping that 
end in the hand. When it is desired to produce the hand¬ 
kerchief, pressure on the opposite end drives the tube 
home, and forces the handkerchief into the hand, 
while the wand reassumes its normal appearance. 

Wands of one or other of the above kinds are fre¬ 
quently used in a modern version of the old trick of 
“ the handkerchief burnt and destroyed,” to supply the 
performer with the little bit of cambric which is re¬ 
quired for the purpose of the illusion. 

A fourth wand for similar purposes consists of a 
metal tube (a, in Fig. 90) duly japanned and nickelled, 
in one end of which is inserted, for the reception of the 
handkerchief, a smaller tube b, about two and one half 
inches in length, open at its inner end, but closed at its 
outer end by a disc of metal a shade larger in diameter 
than the wand itself, the projecting edge enabling it to 
be instantly withdrawn, say under cover of passing the 
wand from one hand to the other. A slot, half an inch 
wide, is cut in the side of 6, to facilitate the extraction 
of the handkerchief. 


Later Magic 


129 

facilitated by having a nail or needle-point driven into 
the back of the table, level with the hooks, for the solid 
end of the wand to butt against. 

The most difficult part of the trick is to find a reason¬ 
able excuse for wrapping up the wand. One plan is to 
treat the so doing as a concession to the audience, who 
(as you take for granted) are by this time satisfied that 
with the wand you can do anything you please, so—on 
this occasion only—you propose to do without it, 
wrapping it up to keep it out of mischief. 

Another mise en scbne for the trick is to pretend that 
you are about to make a present of the wand to some 
spectator. In this case the handkerchief is omitted, 
and when the paper tube is torn apart by the spectator 
he finds it empty, the wand having found its way back 
to the possession of the performer. After this proof of 
its fidelity he naturally has not the heart to part with it, 
and the spectator is compelled to dispense with the in¬ 
tended gift. 

Instead of at once handing the supposed wand in its 
envelope to the spectator, and allowing him to open 
the paper, the performer may remark: “ But perhaps 
this will be inconveniently long for the pocket; I had 
better make it smaller for you.” So saying, he clips 
one end of the paper tube between the first and 
second fingers, and with the other hand rolls it into a 
coil round these fingers, the paper cylinder flattening 
as pressure comes upon it. By the time the coil is 
complete it is abundantly clear to the audience that 
the wand has somehow escaped from its envelope, and 
it only remains for the performer to reproduce it else¬ 
where, as may best suit him. 


130 


Later Magic 


A WAND FOR THE PRODUCTION OF CIGARS. 

The principle of the “half-crown wand,” viz., the 
extrusion of an object concealed within the outer end 
of the wand by means of a sliding piston within it, has 
been ingeniously applied to the magical production of 
cigars. In this case, in place of the half-crown, the 
piston terminates in a stout needle, which, when the 
piston is pushed forward, projects a couple of inches 
or so beyond the end. When the piston is drawn back, 
the needle disappears within the wand. 

To prepare the wand for use, a cigar, of small size, is 
impaled upon the needle, and drawn back within the 
wand. Within easy reach of his left hand, either in a 
pochette or under the vest, the performer has another 
cigar, of precisely similar appearance. 

Holding the wand so that its open end shall not be 
noticeable, he may lead up to the trick by a few re¬ 
marks on the so-called “divining” wand, and the 
quality claimed for it of “dipping ” when the holder 
approaches water-springs or minerals, however deeply 
hidden beneath the surface of the earth. He informs 
the company that the wand he holds possesses a similar 
quality, but in a somewhat different way, the attractive 
force being in this case exerted by tobacco, and the 
wand becoming heavier whenever it is brought into the 
near neighbourhood of the soothing weed. 

To prove his assertion, he places the tip of a fore¬ 
finger on each end of the wand, and holding it hori¬ 
zontally before him, advances to some gentleman of 
the company (preferably one whom he knows to be a 
smoker), and suddenly lowers the wand, as if involun¬ 
tarily, a couple of inches. “Sir, I feel the wand is get- 


Later Magic 131 

ting heavier. Am I right in supposing that you have 
tobacco or cigars about you?” If the answer is in the 
affirmative, he passes on, with a smile of satisfaction, 
to some other gentleman, continuing in the same way 
till he comes to some one who declares, in spite of the 
evidence of the wand, that he has nothing in the shape 
of tobacco about him. “ This is strange,” remarks the 
operator; “I never knew the wand make a mistake 
before. Now it tells me positively that you have 
tobacco somewhere about you, and according to the 
direction of the pressure it should be somewhere about 
your chest. Will you kindly open your breast pocket ? ’ ’ 
He thrusts the wand inside the coat, and brings it out 
again with the cigar on its end. “ The wand was right, 
you see. I ’m afraid you take a whiff on the sly; in 
your sleep perhaps. Anyhow, this cigar is evidently 
your property. Allow me to return it to you.” 

While the general attention is drawn to the unex¬ 
pected appearance of the cigar on the end of the wand, 
the performer has ample opportunity to palm in his 
left hand the reserve cigar. Apparently transferring 
the cigar on the wand to that hand, he draws the visi¬ 
ble cigar back into the tube, shows the loose one in its 
place, and hands this latter to the supposed owner. 

The trick may then be repeated in the same way; 
save that this time the cigar produced on the end of 
the wand is itself given away, the left hand grasping it 
just as the piston is drawn back, and so drawing it off 
the needle-point. 

If the exhibition takes place in public, it is extremely 
likely that one of the lady spectators may have a muff 
on her lap. In such case the performer may cause 
some amusement by coming to a halt in front of the 


32 


Later Magic 


lady, and assuring her that the wand indicates (though 
he can scarcely believe it) that she has tobacco in some 
shape in her possession. He may then proceed to 
“find” a cigar in her muff, the open ends of which 
render the production exceptionally easy. 

THE “SWALLOWING” WAND. 

This wand derives its rather curious title from the 
fact that it is made, to all appearance, to pass, to the 
extent of two-thirds of its length, down the throat of 
some young gentleman selected from the audience. 

The wand is in fact the one ordinarily held by the 
performer, made, say, of some hard wood, with ivory or 
ebony mounts, as a in Fig. 92. The secret lies in the 



o & 


Fig. 92. 


use in addition of a little metal tube, 6, of such a size 
as to pass easily over the tube, and of the same length 
as one of the mounts, which it is japanned or enam¬ 
elled to exactly represent. 

To use the wand, this is secretly slipped over one end 
of it. The performer then inserts the opposite end into 
the mouth of his victim, covering any portion of the 
mount left visible by grasping it between the fore¬ 
finger and thumb of the left hand. He then slides the 
false mount up and down with the opposite hand, as 
shown in Fig. 93, the effect to the eye of the spectator 
being that the whole wand is drawn in and out of the 



Later Magic 133 

victim’s mouth. The free end of the wand is allowed 
to pass up the sleeve of the performer. 



Fig. 93. 


This is of course not presented as a trick in itself, 
but introduced as a piece of by-play, under pretence 
of measuring the boy’s mouth, or under some similar 
pretext. It may be relied upon to create much fun 
among a juvenile audience. 1 

1 For an effective use of this wand in a somewhat different way, 
see the trick entitled “The Flight of Time,” post. 


CHAPTER V. 


TRICKS WITH WATCHES. 

HE first requirement, in the case of most watch 



I tricks, is to obtain secret possession or control of 
the borrowed article; so as to be able, unknown to the 
spectators, to deal with it as may be necessary for the 
purpose of the trick. The use of the “watch-box” 
(with or without the “ticking” movement) is familiar 
to all conjurers, and another method, suitable for stage 
use, has been indicated at page 7. A third plan is to 
form, in view of the spectators, a conical paper bag, to 
have the watch 1 dropped therein, and after a little 
appropriate “ talkee-talkee,” to open out the paper and 
show that it has disappeared. The paper is then 
crumpled up, as having served its purpose, and the 
watch, which remains therein, is extracted at leisure 
for disposal as may be necessary. 

The secret here lies in the fact that the sheet of paper 
is in reality double (see Fig. 94), consisting of two 
sheets of newspaper or plain printing paper, a, b, c , d , 
pasted together throughout, with the exception of a 
kite-shaped portion extending from corner to corner, as 
indicated by the letters d , e , b , /, d in the diagram. The 
loose corner of the upper sheet is cut off, so that the line 
e, f forms the mouth of a triangular pocket. 

1 This may, according to circumstances, either be the original or 
a substitute, for which the original has been changed. 


134 


Later Magic 


135 


In the act of twisting the sheet of paper into a bag 
the mouth of this pocket (which is kept on the inner 
side) is opened, and the watch is dropped therein. 
When the paper is again spread out, and held by the 



comers a and d, or d and c, the watch has disappeared, 
but does not fall, being in fact comfortably resting in 
the angle b. 



Another method of forming the bag is to take a 
four-page sheet of some periodical of convenient size, 
as shown in Fig. 95, and to prepare it by pasting a 








136 


Later Magic 


duplicate (by the edges only) over the upper page. The 
portion pasted (half an inch wide) extends from a to b } 
b to c, and c to d; a to d being left open, and forming 
the mouth of a square pocket, nearly the size of the 
page. In use, the paper is twisted as shown in Fig. 96, 



Fig. 96. 


the inner edge of the pocket being laid over against the 
opposite side of the bag. As in the former case, any 
article dropped into the bag actually goes into the 
pocket, and, when the paper is again unrolled, and held 
by the corners a, d, or either of them, is found to have 
disappeared. 

For the knowledge of another, and in some respects 
more artistic method of working this disappearance, I 
am indebted to Mr. C. O. Williams, already mentioned. 
The speciality of this method is that the sheet of paper, 
which is about fourteen inches square, is quite unpre¬ 
pared. It is twisted in the ordinary way into a cone, 



Later Magic 


137 


but of comparatively small size, being at its largest 
diameter not more than three inches across. (See 
Fig. 97-) A watch is dropped into it, and the corner a 
turned down as in Fig. 98. In this condition it is 



Fig. 97. 



Fig. 98. 


handed to a spectator to hold. After a little by-play 
the performer takes it from him, grasping it by the 
upper end, with the fingers in front and thumb behind. 
He holds it to the spectator’s ear, asking if he hears the 
watch still ticking. In so doing, however, he lowers 
the bag to a horizontal position, the effect of which is 
that the watch runs to the larger end, where it is 
secured by light pressure with the fingers. The cone is 
then restored to its normal position, smaller end down¬ 
wards. The bag may now be transferred from hand 
to hand, the watch being clipped by the thumb and 
fingers of each in turn. It may then be opened out, 
and shown empty, the watch remaining hidden at first 
behind the folded-down corner of the paper and after¬ 
wards palmed. 



138 


Later Magic 


This method demands some amount of address on 
the part of the performer, but, smartly worked, pro¬ 
duces a complete illusion, the general belief of the spec¬ 
tators being that the watch is up to the last moment 
at the bottom of the bag, and consequently out of reach 
of the hand which holds it. If a folded silk handker¬ 
chief be secretly dropped into the bag with the watch 
(the latter uppermost), the handkerchief will remain at 
the bottom during the subsequent manipulations, and 
when the bag is opened will be found to have taken 
the place of the timepiece, — a very effective little 
transformation. 

Another method is to wrap the watch in a sheet of 
printed paper, laid flat on the table. The watch can 
be felt and heard to tick inside the package, and yet 
it can be instantly extracted by the performer. To 



achieve this result, the paper is again “faked,” but in a 
different manner. The paper should be one having 
three columns of print, such as Tit-Bits or Answers , as 
illustrated in Fig. 99. A half-column cut from a similar 









Later Magic 


139 


paper is gummed or pasted by its edges along the lines 
a b, a b; the ends a a and b b being left open. The in¬ 
tervening space forms a sort of tunnel across the sur¬ 
face of the paper. The sheet being spread upon the 
table, the performer, standing at the side marked b b, 
places the watch in the centre, and wraps it up by 
folding the paper over once or twice towards himself, 
first, however, slipping the bow of the watch within 
the opening a a. The effect of the folding, if properly 
managed, is that the watch slides along the paper tun¬ 
nel towards the performer. When it has reached the 
position indicated by the letter c , he turns down the 
sides from left and right. The watch is now to all ap¬ 
pearance securely wrapped in the middle of the paper, 
though in reality it is resting in an outward fold only, 
whence the performer can allow it to drop into his 
hand at pleasure. 

It is obvious that the page may be prepared as above 
described while still forming part of the serial selected, 
and tom therefrom in the presence of the audience 
when required for use,—an additional guarantee, in ap¬ 
pearance, that it is an ordinary sheet of paper. 

The same effect may, with a little address, be ob¬ 
tained with a piece of unprepared paper. The paper 
should in this case be about six inches square, of stout 
substance, but not harsh or brittle. The performer, 
taking this in the left hand, lays the watch on its 
centre, and folds down, first the right, and then the 
left side over it, not too closely, but leaving a clear half 
inch of space on each side of the watch. In folding 
down the paper, he moulds it a little to the shape of 
the watch. Having turned down the sides, he next 


140 


Later Magic 


folds down the upper end in like manner. Before 
making the final fold, he tilts the paper slightly to¬ 
wards him. The effect is that the watch runs down to 
the lower end of the paper, the little finger of the left 
hand, placed beneath, preventing it from coming too 
far, and the lower end of the paper is then folded back 
with the watch in it. The watch is therefore, as in the 
last case, resting in an outer fold, wherein it may be 
heard to tick, but whence it can be slipped out instantly 
when desired. 

The following neat expedient is the invention of a 
German conjurer (Professor Ernst, of Hamburg). A 
piece of flash paper, five inches square, is prepared by 
making two cross cuts, X, an inch and a half long, in 
its centre. If this be done with a sharp knife, and with 
the paper laid out on a flat surface, the paper may be 
shown at a few feet distance, without the cuts being 
noticeable. Having thus exhibited it, in a casual 
way, the performer lays it on his left hand, and a 
borrowed watch (lady’s size) upon it. He then gathers 
up the comers, and twists them together. He holds 
the packet, still on the hand, to the ear of some spec¬ 
tator, who is satisfied by the ticking that the watch is 
still there. On arriving at his table, he with the right 
hand picks up the packet by the screwed-up comers, 
and immediately flashes it off, over the candle, at the 
same time dropping the watch, which has passed 
through the opening and remained in the left hand, into 
his profonde, to be dealt with as the nature of the in¬ 
tended denouement may require. 

Among other useful appliances for secretly gaining 
possession of a borrowed watch is a small black alpaca 


Later Magic 


141 

bag, of special construction. To make it, assuming 
that the bag is to be seven inches in depth, a strip of 
the material twenty-one inches long by, say, five inches 
in width, will be required. This is folded in three, 
lengthwise, as follows: The lower end, to the extent of 
seven inches, is folded back on the centre portion. The 
cloth is then turned over, and the upper end folded 
down in like manner. The outer edges on each side are 
sewn together; the raw edges at top and bottom are 
hemmed, and the folded edge of each stitched so as 
also to represent a hem. The result is a double bag 
(see Fig. 100), with one opening, a b, at top, and an¬ 



other, c d, at bottom, though to the eye of the specta¬ 
tors the bag appears a perfectly ordinary one. 

To prepare it for use, the performer drops a dummy 
watch into the mouth a b, and lets it sink into the 
corner c. He then takes the bag by that corner, there¬ 
by holding the dummy in position, turns the bag over, 
and gets the lender of the borrowed watch to drop it 
into the mouth c d. He then moves away in order to 
place the watch in the custody of a second spectator, 
but during the transit transfers the bag from hand to 




142 


Later Magic 


hand, and in so doing again turns it over, gripping the 
borrowed watch in place of the substitute, and releasing 
the latter. When he reaches the spectator to whom he 
proposes to confide the watch, he asks him to put his 
hand in the bag and take it out himself. It is, of 
course, the dummy which is taken out, the genuine 
article remaining in the bag, and being carried off by 
the performer or his assistant, to be dealt with as 
required. 

If the circle of spectators is so small that there is a 
fear of the substitute watch being caught sight of by 
persons who have seen the original, and who might 
notice a difference between them, each may be wrapped 
in a piece of soft paper before placing it in the bag. 

There is another method of using the same kind of 
bag, in which this preliminary wrapping up is essential. 
In this case, the performer, after receiving the borrowed 
watch in the bag, simply lets loose the dummy. It falls 
with a crash on the floor, and the performer discovers, to 
his pretended horror, that there is a hole in the bag; 
hence the supposed accident, which he repairs after 
some pre-arranged fashion. For this mode of working 
it is better to have the mouth of the bag, from a to 6, 
stitched half-way across, leaving only just room for 
the passage of the dummy watch, which in this form of 
the bag can lie snugly in the opposite corner, till, by 
tilting the bag accordingly, it slides down to the open¬ 
ing, and falls through it. 

“ EXCHANGING ” A WATCH. 

It is a frequent occurrence in watch tricks, that the 
watch wrapped up, or otherwise dealt with even at 
the earlier stage of the trick, is not the original, but a 


Later Magic 


143 


substitute. As a necessary preliminary, the former 
must be exchanged for the latter. There are many 
ways of effecting this. One of the simplest is as fol¬ 
lows: The performer has the substitute at the outset 
in a pochette on the left side. At the same moment 
when, with the right hand, he receives the borrowed 
watch from the owner, he drops the left hand to the 
side, and palms the substitute. He then asks some 
one to be good enough to hold the watch for a moment. 
In transit he makes the motion of transferring it to 
the left hand, really palming it in the right, and with 
the left hand handing over the substitute. 

Another daring but generally effective plan is to 
have the substitute watch in one of the outside coat-tail 
pockets. On receiving the borrowed watch, the per¬ 
former makes believe to transfer it from the right hand 
to the left (really palming it). He then orders it to 
pass up the sleeve, shows his left hand empty, and re¬ 
produces it with the right from under the left arm or 
from inside the vest. Again he makes believe to place 
it in the left hand, and this time orders it to pass into 
the tail-pocket. Plunging the right hand into the 
pocket, he leaves the borrowed watch therein, and 
produces in its place the duplicate. 

The first pass should be made while standing close 
to the owner of the watch, that he may tacitly identify 
it, on production from under the arm or from the vest, 
as his own. In (apparently) producing it for the 
second time, the performer will do well to stand a little 
farther off, that the proprietor may not be in a position 
to detect the substitution. 

Where in the course of a trick the performer desires 
openly to “ vanish’’ a watch (either the original or the 


1 44 


Later Magic 


dummy which, to the spectators, has temporarily rep¬ 
resented it), this may be neatly and effectively done 
by means of a “pull” of silk elastic, one end being 
attached to the performer’s vest, midway between the 
shoulders, and the other to a short piece of fine gut. 1 
At the opposite end of this is a little wire clip with its 
points bent inwards and crossing each other, as shown 
in Fig. ioi. Just above the wire, secured by a knot 
above and below it, is a leaden bullet, a, 
with a hole through it. The length of the 
pull is so adjusted that the clip shall lie nor¬ 
mally midway up the forearm, or a little lower 
down. When the arm is shortened by resting 
the hand upon the hip, the appliance naturally 
falls lower, and is brought within reach of the 
hand, the bullet, which gives a better hold 
than the wire hook, being nipped between the 
finger and thumb. By passing the bow of 
the watch between the bent points of 6, it is 
instantly and firmly secured. The watch is 
then professedly rubbed away to nothing between the 
hands, a sudden straightening of the arms, with simul¬ 
taneous relaxation of the pressure of the hands, causing 
it to fly up the sleeve. 

It is hardly necessary to remark that the performer 
should take the earliest available opportunity to retire 
and release the watch from its captivity, as its unex¬ 
pected reappearance, dangling from the sleeve, would 
be distinctly objectionable. 

1 Where, as in the present case, it is desirable that an elastic pull 
should give freely, and yet exercise a quick and lively tension, this 
object is better attained by the use of several strands of fine rubber, 
knotted together at the ends, than by a single rubber cord. 



Fig.ioi. 


Later Magic 


H5 


THE AMERICAN VANISHER. 

Another appliance for the same purpose is known as 
the “American” vanisher. (See Fig. 102.) This is a 
flat metal ring one and one half inches in diameter, 
and not unlike a key-ring, which indeed it resembles a 



Fig. 102. 


good deal in principle. At one part of its circumfer¬ 
ence it has a three-quarter inch opening, a, the ends on 
either side being slightly curled back. Across this open¬ 
ing lies a piece of clock-spring, rivetted at one end, b. 
The other end, c, is free, but presses firmly against the 
inner circumference of the ring. If the bow of a watch 
be inserted in the opening, and pressed against the 
spring, the end c gives way just sufficiently to allow 
the passage of the bow. The moment it has passed c , 
it is securely threaded on to the ring. On the side of the 
ring opposite to the opening is an eyelet, d. To this 
is attached a piece of cord elastic, the two ends of 
which are then threaded through a ring (preferably of 
ivory), sewn to the performer’s vest on the left side, 
near the waist, and thence carried to the opposite side 
of the body, knotted together, and slipped over one of 
the front brace-buttons. Getting the ring secretly into 


146 


Later Magic 


his left hand and keeping the elastic cord well under 
cover of his arm, it is an easy matter for the performer 
to slip the bow of the borrowed watch within the ring. 
Once secured, it is made, by an extension of the arms, 
to vanish under the coat, where it remains until the 
performer has an opportunity to leave the stage and 
remove it from the ring. 

In connection with this subject of getting possession 
of a borrowed watch, I may here mention 

A NEW “ PALM ” FOR WATCHES. 

This is in effect the application of the familiar 
“thumb” or “Frikell” palm to the case of a watch. 
The credit of the idea belongs, I believe, to “Selbit,” 
in whose Magician's Handbook I first made its ac¬ 
quaintance. 

Selbit instructs the performer to take the watch (pref¬ 
erably one of the keyless kind, the winder affording a 
better grip) between the thumb and middle finger; 
then,' under cover of taking the watch in the left hand, 
to remove the thumb, and with the middle finger push 
the watch until the bow and winder are received in the 
root of the thumb, which closes upon them and holds 
them fast, the fingers being spread apart as if the hand 
were empty. The left hand is to be closed, as if con¬ 
taining the watch, and carried upwards. 

In one or two points I venture to think (if I may 
venture on a friendly criticism) that these instructions 
may be improved upon. In the first place, I would 
suggest as preferable that the watch be allowed at the 
outset to lie fiat on the second and third fingers, not 


147 


Later Magic 

quite upright, but with the bow pointing somewhat to 
the left (in a northwest direction, so to speak). See 
Fig. 103. 



Under the foregoing conditions, the momentary clos¬ 
ing of the fingers, as the right hand moves towards the 
left, turns the watch over, and throws the bow just into 
the fork of the thumb, in the very position most favour¬ 
able for getting an immediate and secure grip upon it. 

Secondly, the direction to hold the fingers spread 
apart after palming the watch seems to me ill-advised. 
Many performers appear to think that extending the 
hand like a starfish when hiding something concealed 
in it constitutes an ideal “palm,” but this is a great 
mistake. The object of the conjurer in all his acts and 
movements should be to imitate nature as closely as 
possible. Now in nature no one ever by any chance 
holds the hand in this manner. The hand in such an 
abnormal attitude “doth protest too much,” and, by 
its over-assertion of being empty, suggests to the acute 
observer that something is concealed therein. In the 
present case, with the thumb necessarily held close to 
the hand, the outspread position of the fingers becomes 
even more violently suggestive. The most natural 



148 


Later Magic 


position of the hand in such a case is with the second, 
third, and fourth fingers slightly bent, and the fore¬ 
finger alone extended, indicating the opposite hand. 

But to return to the main branch of our subject. 
When a conjurer has once succeeded in getting a watch 
out of the possession of its rightful owner, it is usually 
his custom to apparently maltreat it in some way or 
other, and it may be convenient here to refer to a 
couple of little pieces of apparatus designed to produce 
this effect. 


THE NOISY WATCH-WINDER. 

This consists of a little flat metal case, a a (see Fig. 
104), about two inches in length by one in breadth, and 
three eighths of an inch in depth. The 
one end is closed. Projecting from the 
opposite end is a little cog-wheel, b, taking 
up its whole breadth. Within the case is 
a steel spring, c, whose free end is engaged 
in the cogs of the wheel. 

When the wheel is moved in the direc¬ 
tion shown by the arrow in the diagram, 
a sharp metallic sound, like the winding 
of a bottle-jack, or of a large clock, is produced. 

To use the winder, it is held in the right hand, across 
the second and third joints of the fingers, with the 
wh^el end pointing to the forefinger. A borrowed 
watch is taken in the opposite hand, and a pretence 
made of winding it (after the usual stem-winding fash¬ 
ion) . The performer at the same time runs the ball of 
the right thumb over the cog-wheel, causing it to re¬ 
volve, and thereby producing a sound horrifying to the 



Fig. 104. 




149 


Later Magic 

owner of the watch, who naturally fancies that some 
deadly damage is being done to his or her cherished 
timekeeper. The noise may be made greater or less 
according as the soundhole d is left open, or covered by 
the lower part of the thumb. 

A little additional effect may be produced by the 
performer placing the watch to his ear, and exclaiming 
“Dear me! it has stopped!” This seems such a 
natural consequence of the supposed ill-usage that 
everybody is quite ready to believe it, and the relief 
of the owner is the greater when the timepiece is ultim¬ 
ately returned safe and sound. 

AN IMPROVED “ REPEATER. ” 

The old “repeater,” the apparatus whereby a bor¬ 
rowed watch was made apparently to strike the hours 
or answer questions, has been fully described in one of 
my earlier works, 1 and is doubtless familiar to the 
reader. There is, however, a more modern form of 
repeater, designed by Hartz, which, though in principle 
the same thing, has a little improvement in detail 
which makes it much more certain and more manage¬ 
able in working. 

Instead of the mechanism being set in motion, as in 
the older pattern, by direct pressure of the performer’s 
body against the button a (Fig. 105), it is in this case 
actuated by a cord which passes over the button, and 
the tightening of which causes the necessary depression. 
The improved apparatus, which takes the form shown 
in Fig. 106, is secured by a strap b to the forearm of 
the performer, a little above the wrist. One end of the 

1 See “ The Mesmerized Watch,” Modern Magic , p. 222. 


Later Magic 


• 150 

cord c is attached to the eyelet d. The opposite end, 
after passing over the stud a, is drawn up the sleeve, 
and inside the vest, where it is attached to one of the 


,.a. 




hinder brace-buttons. The effect of this arrangement 
is that when the arm is extended the cord is drawn 
taut;, the stud is pressed, and the repeater begins to 
strike, ceasing as soon as the pull is relaxed. 

An example of a very effective use of this little ap¬ 
paratus will be found described in connection with 
Hartz’s version of the “ Locked and Corded Box” trick, 
p. 176. 

Having now discussed at length various methods of 
getting possession of a borrowed watch, and of har¬ 
rowing up the feelings of the owner by submitting it to 
imaginary injury, I proceed to describe a few effective 
ways of relieving his mind by its reproduction. 

TO REPRODUCE A BORROWED WATCH IN ANY ONE SE¬ 
LECTED OF A NUMBER OF BOXES. 

The performer having, by one or other of the arti¬ 
fices already described, obtained possession of a bor¬ 
rowed watch, pretends that it is lost, and sets to work 






Later Magic 


151 

to find it. After a little consideration, he says: “You 
need not be anxious, sir. I fancy I know where it is. 
I expect it has found its way into my jewel-case. Ah, 
there is the case, on that table.” 

The so-called jewel-case proves to be of a very un¬ 
pretentious character, being, in fact, a common cigar- 
box; which, being opened, is seen to contain about a 
dozen equally common cardboard pill-boxes. Putting 
these out on the table, the performer proceeds to open 
them, one by one. They may either be empty, or, if 
preferred, may contain sundry articles of Mohawk 
Minstrel jewelry; diamonds as big as florins, and so on, 
each introduced with appropriate patter as the gift of 
some crowned (or half-crowned) head to the performer. 
All the boxes are opened in turn, but the watch is not 
to be found, and the performer finally declares that he 
must try another method. By his magic power he 
will compel the watch to travel into one or other of the 
boxes. At the pleasure of the audience, he puts aside 
box after box, till only one is left, and in that one is 
found the missing article. 

To begin with, the so-called jewel-case is a box 
of the kind described at page 29, having a hollow space 
beneath it. In the course of his patter the performer 
manages to place the watch in an extra pill-box, and 
when he takes up the faked cigar-box, he slips this 
underneath it, keeping it in position with the fore¬ 
finger till the cigar-box is again fairly down on the 
table. As each pill-box is returned, after being ex¬ 
amined, he lays it down again close by the cigar-box. 
When he has gone through them, he says: “Well, this 
is very peculiar; but the watch has got to be found 
somehow or other. I must try another plan.” So 


152 


Later Magic 


saying he lifts and puts aside the cigar-box, as if merely 
to get it out of the way; thereby leaving the extra 
pill-box close in rear of the others. There is not the 
smallest fear of the spectators detecting the addition. 

He then makes use of the familiar equivoque. Divid¬ 
ing the boxes into two equal, or about equal, parcels, * 
he lays his wand between them. “Which half shall I 
take, ladies and gentlemen? Left or right?” What¬ 
ever the reply, he pushes aside the half that does not 
comprise the watch, with the remark, “ That disposes of 
that lot,” or something to the same effect. He now 
arranges the remainder in two rows, parallel to the 
company. “Which of these, ladies and gentlemen? 
Back row or front row? ” And, whatever the reply, he 
again discards the row which does not suit his purpose. 

“ Once more, ladies and gentlemen, this lot or that lot ? ” 
And so, until only one box is left, being the one which 
contains the watch. 

It will be found that ten boxes is a good number to 
start with, the additional box making eleven. In 
making the first division, which will naturally be into 
five and six, the box containing the watch should be 
one of the five; and at the next step the division 
should be three and two, the right box being one of 
the two. This ensures having the right box reached 
in three trials, which would not be the case if, at either 
stage, it formed one of the larger parcels. 

A LOST WATCH FOUND IN THE PERFORMER’S PURSE. 

The purse used for this trick should be one of the 
“bag” shape, and of a kind which, when closed, fastens 
itself by simple pressure. This should be placed, open, 


Later Magic 


53 


and mouth uppermost, in the left trouser-pocket of the 
performer. To prevent its closing prematurely, its 
jaws may be kept apart by means of a little piece of 
cork, in each end of which a notch has been cut, and 
which acts as a gag. In addition to this, the operator 
must provide himself with a dummy watch, lady’s size. 
This is intended to be sacrificed, and may therefore be 
as common as he pleases. 

The performer begins, by borrowing a lady’s watch, 
which he forthwith exchanges for the substitute, keep¬ 
ing the genuine one in the left hand. Asking some 
gentleman to take charge of the watch (really the 
dummy), he hands it to him accordingly. In so doing 
he turns his right side to the company (having chosen 
his assistant so as to necessitate this), and takes the 
opportunity to slip the left hand into the trouser- 
pocket, and the borrowed watch into the open purse, 
which he should not now wait to close, as he will have 
ample opportunity to do so later. The gentleman re¬ 
ceiving the substitute watch is asked to close his hand 
tightly upon it. 

The performer now fetches from his table a small 
alpaca bag about six inches by four, and asks the 
holder of the watch to drop it in. The only speciality 
of the bag is that one of its lower corners is unstitched 
for a space of about two inches. Naturally, when the 
dummy watch is placed in it, it finds its way to the open 
corner, and falls through it on to the floor. The per¬ 
former professes himself grieved at the accident, and 
endeavours to repair the damage by rubbing the watch 
between his hands, but to his still greater distress it 
disappears altogether. (This may be effected either by 
sleight-of-hand, or by means of a pull, as the performer 


154 


Later Magic 


pleases.) After keeping up the pretence of embarrass¬ 
ment for a little while, he decides that the watch 
is fairly lost, and that his only plan will be to pay a 
money compensation to the owner. Having ascer¬ 
tained what value she puts upon it, he takes his purse 
out of his pocket in order to pay the amount, but, to his 
pretended astonishment, no sooner opens it than he 
finds therein the missing timekeeper. 

When the hand 4 s put in tfce pocket, the performer 
pushes aside the little gag, and closes the purse, before 
producing it. 

This trick is sometimes performed with a purse 
whose bottom seam has been ripped open (as in the 
case of the “ wand ” trick described at page 103) and the 
watch introduced through the opening thus made. 
Nothing, however, is gained by this arrangement, 
which is indeed a needless complication, and has the 
further disadvantage of preventing the purse being 
offered for examination. 

ANOTHER METHOD. 

A very neat little trick, terminating in the same way, 
is one of the specialities of the well-known wizard, Imro 
Fox. Having wrapped a borrowed watch in a hand¬ 
kerchief, which he holds to the ear of a spectator to 
prove that the watch is still there, he bangs it violently 
upon the table. The owner feels more and more 
anxiety as to his property, and is not much better 
pleased when the performer, shaking out the handker¬ 
chief, shows that the watch has departed altogether. 
The trick comes to an end, as in the former case, with 
the offer of a money payment by way of compens- 


Later Magic 155 

ation, and the unexpected finding of the watch in the 
purse. 

As the acute reader will no doubt have suspected, the 
watch is no longer in the handkerchief when it is 
banged upon the table, the actual blow being given by 
the ball of the wrist. The cleverness of the trick lies 
in the manner in which the watch is extracted from it. 
To effect this, the performer lays the handkerchief 
squarely on the table, with the watch a shade to the 
right of its centre. He then folds it straight down the 
middle, the portion on the left side being laid over that 
on the right. One third of the farthermost portion is 



Fig. 107. 


then brought forward over the centre, and the forward 
portion turned back over that again. The shape of the 
folded handkerchief is now an oblong, as in Fig. 107, 
closed on all sides except b , which is open. The posi¬ 
tion of the watch is as indicated at 1 in the diagram. 
If at this stage the performer were to turn back b on a, 
the watch would be fairly wrapped up, and this is what 
he apparently does. He picks up the handkerchief, the 
end a in the left hand, b in the right, and folds b on a; 
but a moment before he does so, he lowers the right hand 
a little, and lets the watch slip down to position 2. The 
effect is that, when the final turnover is made, the 
watch lies in an open pocket, the opening being toward 






156 Later Magic 

the left hand, into which the watch is then allowed to 
slide. 1 

The right hand takes the now empty handkerchief, 
and holds it to the ear of a spectator, who hears the 
tick, not of the watch just seen, but of another, strapped 
to the arm of the performer, just above the wrist. The 
banging of the supposed watch on the table then fol¬ 
lows. While attention is thus called to the right hand, 
the left hand steals to the trouser-pocket, and inserts 
the watch in the purse, to be produced in due time as 
already described. 

A BORROWED WATCH CHANGED TO A LEMON. 

A valuable accessory for use in a watch trick is the 
ticking lemon, a speciality of Messrs. Hamley Brothers. 
This is an excellently modelled imitation lemon, of 
papier mdche, with a circular hole, one and a half 
inches in diameter, in one side of it. Half of the in¬ 
ternal space is occupied by a watch movement, which 
being wound up produces a ticking sound. The re¬ 
mainder of the cavity (that part next the opening) is 
left unoccupied. 

A lady’s watch and handkerchief having been bor¬ 
rowed, the performer proceeds, ostensibfy, to wrap the 
watch in the handkerchief, but in reality substitutes 
the lemon. Handing the ball thus formed to the 
owner of the watch, he asks her if she can hear it tick¬ 
ing in the handkerchief. She naturally replies that she 
does. He then disposes of the actual watch for sub¬ 
sequent reproduction in some effective way. (A good 

1 The reader will observe that the wrapping-up of the watch in 
the handkerchief is in effect the same as the folding in paper, de¬ 
scribed at page 139. 


Later Magic 


57 


plan, though old-fashioned, is to work it into a loaf, 
which is then loaded into a hat, and given to some one 
to hold over his head.) 1 

This done, the performer asks the lady whether she 
still hears the watch ticking. On receiving her reply, 
he bares his arms, takes back the handkerchief, and, 
commanding the watch to pass wherever he intends it 
ultimately to be found, opens the handkerchief and 
rubs it between his hands, really into the lemon, which 
he then exhibits in place of the watch, the handker¬ 
chief having vanished altogether. 

While the general attention is called to the repro¬ 
duction of the watch, which immediately follows, he 
has ample opportunity to exchange the mechanical 
lemon for an unprepared one of similar appearance. 

A BORROWED WATCH REPRODUCED FROM A GLASS OF 
MILK. 

This particular denouement to a watch trick is one de¬ 
vised by myself many years ago, and one which I 
can recommend as both easy and effective. 

A watch is borrowed and passed off, by one or other 
of the methods already described. Presently the assist¬ 
ant brings in on a tray two tumblers, one empty, the 
other full of milk. To prove no “deception,” the per¬ 
former pours the milk from the one glass to the other. 
.Then, dipping two fingers in the milk, he produces 
thence the missing watch, which he wipes, and returns 
to the owner, who usually examines it with a disgusted 
air, and a mental vow that he will never trust his 
cherished timepiece to a conjurer again. 

1 More Magic , p. 193. 


Later Magic 


158 


As a matter of fact, he has no reason for any un¬ 
easiness, for the watch never goes into the -milk at 
all. The secret lies in the use of a little hook of 
special design, as depicted in Figure 108. It con¬ 
sists of a slip of zinc, one and one quarter inch in 
length and three eighths of an inch wide, bent into the 
shape shown in the diagram. The upper and under 
sides of the longer arm, a, are covered with glass-paper 



Fig. 108. 


Fig. 109. 


or soft rubber, to enable it to be gripped more firmly 
between the fingers. The depression c serves to re¬ 
ceive the bow of the watch, and b to hook it on to the 
edge of the glass, as shown in Fig. 109. The watch is 
brought in, thus suspended, behind the tumbler of 
milk, and the tray bearing this and the empty tumbler 
is placed on a table, preferably in the centre of the 
stage. The performer stands beside the table, facing 
the audience, in such a position that the tray and 
glasses are on his right hand. Picking up the empty 
glass with his left hand, and the full one with the right, 
at the same time slipping the arm a of the “hook” be¬ 
tween the first and second fingers, he faces half round 
to the left, so as to turn the back of the right hand 
towards the spectators, and pours the milk from the 










159 


Later Magic 

one glass to the other. He places the now empty glass 
on a table or chair on his left (thereby still keeping 
the back of the hand to the audience), and then with 
the right hand grasps the newly filled one and hooks the 
watch, which has remained in his hand, on to the edge 
of this. He has then only to make a half-turn to the 
right, thereby bringing the glass to the front, and the 
hand behind, and in that position to place the glass on 
the table. After a due amount of “ talkee-talkee, ” he 
dips two fingers in the milk, and in withdrawing them 
lifts up the watch from behind. Of course it is not 
even moistened, save by the touch of the wet fingers, 
but a careful wiping adds to the effect of the trick, and 
at the same time creates an opportunity for the re¬ 
moval of the hook. 1 

The arrangement of the earlier part of the trick, 
leading up to the use of the glass of milk, is of course 
quite optional. In my own working, before a juvenile 

1 The late M. Hermann, of Berlin, to whom I communicated the 
above trick, suggested that an effective card-trick might be worked 
on similar lines. I never put it to a practical test, but mention it 
in case others may be inclined to do so. His idea was a glass, filled 
with ink, behind which is suspended a given card, say the king of 
hearts. Two cards are drawn from the pack; the one (forced) 
being a duplicate king of hearts; the other, say the eight of dia¬ 
monds, chosen freely. 

The king of hearts is taken back, shuffled with the pack (really 
brought to the top, palmed off, and got rid of). The eight of dia¬ 
monds is then taken back from the holder, and plunged into the 
glass of ink. When drawn out again, it is dry, and has changed 
to the king of hearts, i. e. t the king of hearts has been drawn up 
from behind, while the eight of diamonds remains in the ink. 

The idea presupposes the use of the small cards used on the con¬ 
tinent of Europe. The hook, instead of being turned up at its 
outer end, would in this case terminate in a clip for the reception 
of the card. 


i6o 


Later Magic 


audience, the introductory portion took the form of an 
amended version of the old “mortar” trick. The 
pestle and mortar were of the improved kind described 
in More Magic (p. 188), in which the fragments of a 
smashed watch are beforehand placed in a circular 
hollow at the bottom of the mortar, and the borrowed 
watch is picked up by the pestle, the head of which 
has a padded cavity for its reception. The general 
course of the trick is in this case somewhat like the 
•following. 

A small-sized watch having been borrowed, is dis¬ 
covered by the critical eye of the performer to be out of 
order, and he volunteers to put it to rights. The first 
step is, naturally, to take it apart. This he accom¬ 
plishes by placing it in the mortar, and apparently 
smashing it to pieces. Under pretence that it is “a 
very hard watch,” he asks his assistant to fetch him 
the kitchen poker, and when brought hammers the 
fragments with the knob of this. The pestle, as no 
longer needed, is carried off by the assistant, who ex¬ 
tracts the watch, and hitches it on to the edge of the 
glass of milk. Meanwhile, the performer picks out of 
the mortar a few of the fragments, pours them back 
again, and continues the smashing process. Bang! 
Bang! Bang! (Here, by the way, a considerable ad¬ 
ditional effect may be obtained by dropping into the- 
mortar half a dozen of the little paper amorces sold as 
caps for toy pistols. Every time the knob of the poker 
comes down on one of these there will be a loud but 
quite harmless explosion.) 

With a genial smile, the operator remarks: “I ’ve 
done it now, I think, and pretty quickly, I flatter 
myself. A regular watchmaker would have taken 


Later Magic 


161 


half an hour over that little job.” (Here the assist¬ 
ant brings in the two glasses, as above.) “ Now for 
the restoration process. When a watch has been keep¬ 
ing bad hours, or is otherwise out of sorts, nothing 
does it so much good as a drop of milk. You may 
remember that the March Hare dipped his watch into 
his tea, but it did it no good. I believe he also tried 
butter, but found that butter didn’t suit the works. 
If he had used milk instead, his watch might have been 
going now. You don’t believe me ? Excuse me, I 0 
never say anything I can’t prove, and to prove this 
I will restore this lady’s watch by the milk process. I 
must make sure that I have all the pieces.” He 
picks the fragments out of the mortar and drops them 
into the empty glass. He then transfers the milk, and 
with it the watch, to this latter glass as already de¬ 
scribed, gives the milk a stir with his wand, and ulti¬ 
mately produces the watch, restored, apparently from 
the milk. The fragments remain at the bottom, and 
with the glass are presently removed by the assistant . 1 

In cases where the spectators are so placed that they 
might possibly get a side view of the watch hanging be¬ 
hind the glass, this difficulty is met by bringing in three 
glasses on the tray; an empty one on each side, and the 
one filled with milk (behind which the watch is con¬ 
cealed) in the middle. 

1 At one period I made a practice of appending a Shaksperian 
quotation in my programmes to each trick, and if the performer 
happens to be a student of Shakspeare he will find it a very interest¬ 
ing task to select mottoes for this purpose. Some of the quotations 
that suggest themselves are curiously apposite. In the present 
instance the motto was from Much Ado about Nothing —“Call the 
rest of the watch together.” For a handkerchief trick a capital 
motto may be found in Othello —“There *s magic in the web of it.” 

ii 


162 


Later Magic 


A WATCH FIRED FROM A PISTOL, AND ATTACHING ITSELF 
TO A BORROWED HAT. 

This is another effective way of reproducing a 
smashed watch. A watch is borrowed, and mal¬ 
treated after the usual fashion of conjurers (the real 
watch being meanwhile dropped into a pochette). The 
fragments of the substitute are placed in a pistol. 
This done, the performer bethinks himself that he 
' lacks a target to fire at, and it strikes him that a tall 
hat would be a good thing for the purpose. He bor¬ 
rows one accordingly. He hesitates for a moment 
where to deposit it, but finally decides to place it over 
a wide-mouthed carafe which happens to be standing 
on the table, and which is of such a height that the hat 
rests suspended on it, with its brim just clear of the ta¬ 
ble. Getting as far away as possible, he fires at the hat, 
when the watch is seen, apparently, to affix itself to it. 

The working of the trick is very simple, though it de¬ 
mands a certain amount of address. On returning to 
the stage after borrowing the hat, the performer takes 
the opportunity to insert into one of its sides, about 
half-way up, a sharp-pointed black pin, bent into the 
form of an S hook. In arranging the hat upon the 
water-carafe, he brings up the watch behind it, and 
hangs it on this hook. The carafe is placed upon a 
movable disc, either in the surface of the table or 
forming a sort of pedestal, as described at pp. 44, 45. 
When the pistol is fired, the carafe and the hat with it 
make a semi-revolution, and the watch is brought to 
the front. If, as is not unlikely, the hat is seen to 
“wobble” a little, this is merely regarded as a natural 
result of the force of the explosion. 


Later Magic 


163 

A NOVEL WATCH TRICK. 

The description of this capital trick I quote from 
The Magician's Handbook , by “ Selbit.” The author 
states that it is based on a suggestion from Mr. Howard 
Thurston. It has been said, with some truth, that it 
takes two conjurers to invent a really first-class trick, 
and the present, it would appear, is an example of 
such “honours divided.” Selbit describes the trick as 
follows: 

“After some gentleman has obliged with the loan of 
his gold chronometer, the performer carefully wraps 
it in a piece of tissue paper, and places the package in 
his outside breast pocket, leaving half the paper show¬ 
ing. This is never again approached by the hand till 
the conclusion of the trick. The conjurer next bor¬ 
rows a gentleman’s hat, which he gives to any voluntary 
assistant to hold above his head as high as possible, 
while he (the performer) stands some distance away 
and commands the watch to pass from the paper packet 
into the borrowed hat. The assistant then looks into 
the chapeau , and discovers to his great astonishment 
that the performer’s command has been obeyed. Both 
the borrowed articles are then handed back, and the 
paper package is undone and shown to be quite empty. 

“ The main part of the secret consists in having a 
special tube attached to the interior of the outside 
pocket, which extends from the left breast of the coat 
to the right-hand coat-tail, passing round the per¬ 
former’s back . 1 When the watch is taken, it is care¬ 
fully wrapped in a piece of tissue paper, which tears by 
means of finger pressure as it is placed in the pocket. 

1 Compare p. 3. 


164 


Later Magic 


Consequently, by the time the borrowed hat is taken 
off the table, and attention called to the fact that it 
would be an impossibility for the watch to leave the 
paper package without the audience seeing it go, the 
chronometer has slid down the tube, and out of the end 
in the right coat-tail, into the hat rested there to re¬ 
ceive it in such a manner as to effectively hide the 
watch as it passes into the chapeau. Now an assistant 
is told to hold the hat above his head, and he is also 
requested to listen to the borrowed watch ticking in 
performer’s breastpocket. He acknowledges that it is 
there, because he can both see and feel it, though really 
he is listening to the conjurer’s own watch, which has 
been previously placed in the top vest pocket, which 
will be found to match exactly the position that the 
borrowed watch would occupy in the outside pocket if 
it were really there. After the apparent impossibilities 
have all been set forth, and the effect worked up as 
brilliantly as possible, the climax is brought about as 
described above. Of course, if it is desired to work the 
experiment in a dress suit, the tube can be arranged to 
run from the inside breast pocket just as easily as from 
the outside pocket in a morning coat.” 

There is only one observation which I think it de¬ 
sirable to make on the above description. If I read 
Selbit’s explanation rightly, the cloth tube is to be 
open at the lower end, and to discharge the watch 
directly into the hat. Such an arrangement (if this 
be the meaning) would be objectionable for several 
reasons. First, it would necessitate holding the hat in 
an unnatural and suggestive position; secondly, the 
hat must be at the right spot exactly at the right 
moment, or there would be a catastrophe; and lastly, 


Later Magic 


165 


supposing those two difficulties surmounted, the watch 
would fall into the hat with an audible and objection¬ 
able “thud.” The better arrangement would be to 
make the tube discharge itself into the profonde on the 
right side, and by arranging the patter accordingly, to 
give the watch full time to get home before the hat is 
actually taken in hand. If this is received in the left 
hand, with a slight forward movement of the body, 
there will be ample opportunity for the right hand to 
drop to the side and palm the watch, which can then 
be loaded into the hat without difficulty. 

watch it! 

This capital trick is, I believe, of “Selbit’s” own in¬ 
vention. I give in effect his own instructions for work¬ 
ing it, 1 recommending the reader to improve upon 
them if he can see his way to do so, the trick being one 
that from its nature is susceptible of any amount of 
variation. 

The performer must provide himself, to begin with, 
with four watches, of the cheap nickelled kind, exactly 
alike in appearance. 2 To the bezel of one of them, just 
above the xii., is brazed a needle point about a quarter 
of an inch long, pointing downwards. This forms a 
little hook, by means of which the watch is hooked into 
the performer’s coat, behind his back, but within reach 
of his hand. The other three watches, which have no 
preparation, are disposed as follows: Two of them are 
placed in the vest pocket, one attached to the swivel 

1 The Magician's Handbook , p. 58. 

2 Match-boxes made in imitation of such watches may now be 
purchased for a few pence, and are quite good enough for the pur¬ 
pose of the trick. 


Later Magic 


166 

of the watch chain, the other loose; and the third is 
placed, bow downwards, under the front of the vest. 
For facility of reference we will call the watch attached 
to the chain No. i; the one under the vest, No. 2 ; the 
one on the back, No. 3; and the one loose in the 
pocket, No. 4. 

Prepared as above, the performer comes forward to 
the audience, and takes out watch No. 1, as if to see the 
time. The sight of the watch suggests that he might 
do a little conjuring with it. He accordingly takes it 
off the chain and tucks the end of the latter under the 
front of the vest, in so doing hooking the swivel into 
the bow of No. 2. Apparently transferring No. 1 to the 
left hand (really palming it in the right), he carries the 
left hand, with the (supposed) watch, to the mouth, 
and makes believe to swallow it. After some small 
amount of facial distortion, as if he found a difficulty in 
getting it down, he draws in the pit of the stomach, 
when No. 2, thereby released, drops to the full extent of 
the chain. This is caught hold of by the left hand, the 
right hand meanwhile dropping No. 1 into a pochette or 
the profonde. 

No. 2 is then unhooked from the chain, and taken in 
the right hand, while the empty swivel is put back, 
with the left hand, into the vest pocket, and in so doing 
is hooked into the bow of No. 4. No. 2 is next 
apparently transferred* by any of the familiar passes 
from the one hand to the other, and the hand in which 
it is ostensibly left is rubbed lightly against the pit of 
the stomach. The performer exhibits this hand 
empty, and then turning round, shows that the watch 
has passed through his body, and is hanging on his 
back. This is of course really No. 3, which has been 


Later Magic 


167 

there from the outset. While he thus turns away from 
the company he has ample opportunity to get rid of 
No. 2. 

With some little pretence of difficulty, he gets No. 3 
from off his back, and holds it in his right hand, with 
the face toward the spectators. Turning his right side 
away a little, he counts “One, two, three!” dropping 
the hand each time, and making believe at the word 
“ three ’ ’ to throw the watch in the air. The hand rises 
empty, having at the third downward movement left 
the watch hooked against the clothing. 

After showing the hands empty, and casually remark¬ 
ing that “It is all right—the watch knows its way 
home,” the performer places the left hand on the 
watch-chain, and slowly draws out No. 4, the surprise 
occasioned by its unexpected appearance giving him 
ample opportunity to again palm No. 3, and transfer it 
to safer quarters. 

The hooking of the swivel into the bow of the watch, 
using the fingers of one hand only, will require some 
practice, but the trick is so exceptionally good that the 
needful labour will be well-bestowed. 

watch it! {Another Method). 

This is another version of the same trick, arranged by 
the versatile gentleman known as “The Conjuring 
Comedian,” Mr. G. W. Hunter. 

Three watches only are in this case used. One has 
no speciality. Of the other two, each has a sharp- 
pointed hook, as already described, soldered to it, but 
in this case to its hinder side, a little below the bow. 
Of these two watches, one, which we will call A , is 


Later Magic 


168 

attached to the watch-chain in the usual way, and is 
placed in the performer’s left vest-pocket; and the 
other, which we will call B, is attached by means of the 
little hook to the back of his coat, about the level of 
the waist. For the disposal of the unprepared watch, 
C, a somewhat more elaborate arrangement is made. A 
piece of black thread, eight or nine inches long, 1 is at¬ 
tached to the swivel of the watch-chain already referred 
to, passed through the bow of the watch, and then 
fastened to the lowermost button of the performer’s 
vest. This watch is then “ vested ’ ’ in the ordinary way. 

Thus furnished, the performer is ready to commence 
operations, the course of the trick being as follows: 

1. He takes watch A out of vest pocket, detaches 
it from swivel, transfers it (apparently) from the 
right hand to the left, opens this hand with a pat on the 
top of his head, and reproduces the watch from his nose, 
the left hand receiving it as it falls. 

2. Taking the watch apparently in the right hand 
by the tourniquet, he “-passes” it through the knees, 
from left side, reproducing it on right side. 

3. Taking the watch in the right hand and making 
a pretended upward throw with it, he palms this 
watch (A) and, facing smartly round, shows B on his 
back. While removing this latter with the left hand, 
he hooks A under the lapel of the coat on the right 
side. 

4. Standing with the left side turned to the specta¬ 
tors, and taking B in his right hand, he again makes 
a pretended upward throw with that hand, but in 

1 The exact length most suitable must be ascertained by experi¬ 
ment. It must be such as to allow the watch to drop to the full 
extent of the chain, but not farther. 


Later Magic 


169 

lowering the hand for the throw leaves the watch 
hooked on to right coat-tail. Bringing up the right 
hand empty, he with the same hand lifts the lapel, ex¬ 
hibiting watch A , which he removes with the left hand. 

5. Still keeping the left side turned to the audience, 
he makes an upward “throw” with the left hand, 
palming A therein, and almost at the same moment 
makes a right-about-face, exhibiting B on the right 
coat-tail. While attention is drawn to this, he hooks 
A on to the left coat-tail. 

6. He is now standing with the right side to audi¬ 
ence. Taking B (the watch last shown) in the right 
hand, he makes believe to place this in the left hand, 
really palming it in the right. Blowing on the left 
hand, he shows it empty, then stoops and places the 
right hand behind his right trouser-leg, below the knee, 
as if to bring up the watch from thence. As a matter 
of fact, however, he leaves the watch hooked behind 
the trouser, and brings up the hand empty, but so 
turned that the spectators cannot see that it is so, 
until after he has gone through the movement of pla¬ 
cing the supposed watch in the left hand, which has, 
meanwhile, secured watch A from the left coat-tail. 
To the eye of the spectator, it appears that he has 
simply brought up the watch from behind the right 
leg and placed it in his left hand. 

7. Showing the watch, first in the left hand, then in 
the right, he places it apparently in the left hand, really 
palming it in the right; he then makes an upward 
throw with the left hand, at the same time opening this 
hand, and with the right hand producing the watch 
from under the left elbow. 

8. Standing with his left side to the audience, with 


170 


Later Magic 


A in his left hand, he makes an upward throw with the 
same hand, palming it, and immediately turning round 
shows B behind the right trouser-leg. Again slightly 
turning away, he carries down the right hand to the 
spot, as if to bring up the watch, but in reality leaves 
it where it is, bringing up the hand, closed but empty, 
and again transfers the supposed watch to the left 
hand, showing in reality the one already there. 

9. Again turning his left side to the spectators, he 
makes an upward throw with the left hand, palming A 
therein, and, facing round, shows B on trouser-leg. 
This he removes with the right hand, and in again 
turning round so as to face the audience, hooks A on 
his back with the left hand. 

10. Carelessly passing B from hand to hand, and 
finally leaving it in the left, he makes believe to take it 
into the right hand by means of the tourniquet. He 
then opens this hand, at the same time giving himself a 
sudden slap on the chest, and turning round shows A 
on his back, the watch having apparently passed 
through his body. 

While removing A with the right hand, the left hooks 
B to the under side of the coat lapel on that side. 

11. Pretending to transfer A from right hand to 
left, he palms it, and makes the movement of rubbing it 
with the left hand through the lapel, which he then 
lifts, and shows that it (in reality B) has “passed” 
accordingly. A (which is now done with) is mean¬ 
while dropped into right profonde. 

12. Standing with his left side towards the audi¬ 
ence and B in his right hand, he makes an upward 
throw, but as the hand sinks for the throw, leaves the 
watch hooked to the back of the right coat-tail. Pie 


Later Magic 171 

follows with his eyes the supposed upward flight of the 
watch, and* in due course its supposed descent, the fore¬ 
finger of the right hand likewise following its imaginary 
course till, finally, it indicates the end of the chain, 
which is now allowed to hang loose over the front of 
the vest. At the same moment the stomach is re¬ 
tracted, when C drops down the thread, apparently 
attaching itself to the end of the chain. 

13. He places C in the vest pocket, and while bow¬ 
ing his acknowledgments, secures B from the coat tail, 
and palms it, to be got rid of at the first convenient 
opportunity. 

It is obvious that the performer is by no means re¬ 
stricted to the above series of passes, happily con¬ 
ceived as they undoubtedly are. The ingenious idea 
of the watch made to appear by running down a thread, 
in particular, might very well be adapted to other 
modes of production. The watch might be made, for 
instance, to appear in the centre of a handkerchief or 
flag, running down from one of two corners held in the 
hands. Or again, after one watch had been hooked on 
the centre of the back, and thence removed, another 
might run down a thread to the same spot from under 
the coat collar, being kept in position till needed by a 
needle passed through the bow, and withdrawn at the 
right moment by pulling a second thread attached to 
the needle. Yet again, a watch concealed at the outset 
in the trouser-pocket, or suspended on a dress-hook just 
below the vest, might be made at the proper moment 
to run down to a given spot on the trouser-leg. In fact, 
this simple little contrivance opens up a whole range 
of new effects to the imaginative performer. 


172 


Later Magic 


Another telling effect, of a different kind, would be 
to privately hook an extra watch into the lining of a 
hat which has been borrowed and used for some other 
purpose, and then leave this, mouth downwards, on 
the table. At some appropriate stage of the trick the 
performer would “pass” the watch into the hat, and 
then, with bared arms and hands obviously empty, 
reach up into it and produce the missing article. 

THE LOCKED AND CORDED BOXES (i.). 

Twenty years ago, this was one of the “star” items 
of a conjurer’s programme. Nowadays, in conse¬ 
quence of the prevailing craze for dispensing with visi¬ 
ble apparatus, it is hardly ever seen. This is a pity, 
for it would be difficult to name a more effective illus¬ 
ion. 1 For the benefit of the younger generation, to 
most of whom the trick is absolutely unknown, I wdll 
briefly describe it. As a watch plays a prominent part 
in it, it may appropriately find a place in this chapter. 

A borrowed watch, with possibly a ring or glove in 
addition, is wrapped in paper and tied round with 

1 The revolt against an excessive use of apparatus, such as was 
found in the days of Professor Anderson, was a movement in the 
right direction, but it has been carried to excessive lengths, and I 
am inclined to believe that there will be a gradual reaction. Per¬ 
fect manipulation of cards, coins, or handkerchiefs will always com¬ 
mand the admiration of the expert, and may serve well enough to 
fill the space of a music-hall turn; but for a whole evening’s enter¬ 
tainment greater variety and broader effects are necessary, and 
these are to be obtained by the judicious use of stage apparatus. 
The perennial success of Mr. Maskelyne’s entertainment is largely 
due to his happy combination of magical elements of wholly differ¬ 
ent kinds. 


Later Magic 173 

ribbon. The little packet thus made is loaded into the 
conjurer’s pistol. 

Presently he fires, taking as his mark a good-sized 
box, which, elaborately corded, has been in sight of 
the audience the whole evening, either standing on a 
side table, or, more frequently, suspended by a rope 
over the centre of the stage. The box being lowered 
and the cord removed, it is found to be locked, but the 
key is speedily discovered, say in a lady’s muff, or 
hanging on to a gentleman’s whiskers. The performer 
opens the box, and takes from it another box of similar 
appearance, and corded in like manner. This also 
being opened, another box is produced. The precise 
number of the series may vary, but it comes to an end 
with two boxes, locked but not corded. The innermost 
is handed to some lady to open, and within it is found 
the packet containing the borrowed articles. 

The key to the mystery lies in the fact that the 
smallest but one of the boxes is bottomless. We will 
suppose that the series consists in all (as it most fre¬ 
quently does) of jour boxes, of which we will call the 
largest No. 1, and so on. The performer stands either 
behind or just beside his table, on the servante of which 
rests, open, the smallest box, No. 4 (which, it should 
be mentioned, closes with a spring lock). The ex¬ 
perienced reader will hardly need to be told that the 
packet containing the watch is not actually placed in 
the pistol, but is deftly exchanged, at an earlier stage, 
for another of similar appearance. At the first con¬ 
venient opportunity, the performer drops the genuine 
packet into the box on the servante, and closes the 
lid. 

When the performer, after firing, opens box No. 1 


1 74 


Later Magic 


and takes out No. 2, he for a moment places the latter 
behind the former, which, however, he immediately 
afterwards puts aside, or hands to his assistant. No. 2 
is then pushed to the front of' the table, to make room 
for No. 3, which in turn is placed for a moment behind 
No. 2. Before taking out No. 3, however, and while 
in the act of pushing forward No. 2, the performer, 
with his disengaged hand, brings up No. 4 from the ser- 
vante, and places this behind No. 2. No. 3 (which it 
will be remembered is the bottomless box) is then 
lifted out of No. 2, and brought down over No. 4, 
which is in due course produced from it, and the trick 
terminates as already mentioned. 

It always seemed to me that the trick as above 
described, excellent as it undoubtedly is, lacked finish 
in one or two particulars. In the first place, the use 
of the bottomless box is somewhat hazardous; indeed, 
I once saw a very eminent performer “give away” the 
trick by an accidental exposure of this part of his 
apparatus. The other point is less serious, and is 
indeed merely a matter of artistic feeling. It ap¬ 
peared to me that, to make the trick perfect, all the 
boxes, down to the smallest, should be corded as well 
as locked. 

The first defect I cured by having a box made with a 
loose bottom, folding up against the back. I could not 
have it hinged in the ordinary way, as the hinges would 
have been more or less visible. I hinged it therefore on 
pivots, working in slots in the sides of the box. These 
slots were curved, each forming an arc of nearly a 
quarter of a circle, and in length about half an inch. 
This arrangement allowed the pivots the necessary 


Later Magic 


175 


amount of play, and enabled the bottom to sink fairly 
and squarely into its place. Mortised into the opposite 
end of the flap were a couple of spring bolts, which, 
when the bottom was down, made all secure. It could 
only be again released by pressing back both bolts 
simultaneously, and this could only be done by insert¬ 
ing a couple of pins through minute holes in the front. 
A little wooden wedge (removed by the performer at 
the right moment) prevented the bottom falling pre¬ 
maturely, but the moment box No. 4 was taken out it 
dropped spontaneously, locking itself as above de¬ 
scribed; and in this condition the box would stand 
the most minute examination without telling any 
tales. 

We now come to the “cording” question. In the 
case of this same box, No. 3, the difficulty was that the 
cords must not cross the bottom, as they would in such 
case interfere with the introduction of No. 4. This 
difficulty I got over by inserting at each corner of the 
bottom of No. 3, and midway between each corner, a 
brass-headed nail, not driven quite home. The nails 
at the four comers were for appearance only, but by 
the aid of the other four a piece of doubled string was 
brought across the top, sides, and ends of the box, with¬ 
out crossing the bottom. The other boxes had nails in 
similar positions, the tacit suggestion being that they 
were merely placed there to serve as feet, and to pre¬ 
vent the bottom of the box scratching any surface it 
might be placed upon. 

The cording of box No. 4 presented a problem of a 
different kind. This box must necessarily remain open 
until after the introduction of the packet, and there 
was clearly no time to cord it afterwards. I got over 


176 


Later Magic 


this difficulty by cording it first, but the supposed cord 
was in fact white cOtton-covered rubber, dyed a light 
brown to resemble string. 

After being duly “corded,” the box was opened a 
couple of inches or so, and the lid propped in that 
position with a bit of stiff wire, for the reception of 
whose ends minute depressions were made in the box 
and lid. The performer’s hand, in introducing the 
packet, dislodged the wire, whereupon the box closed, 
the rubber cord contracted, and the box became to all 
appearance a genuine “corded box.” 

THE LOCKED AND CORDED BOX (il.). (. Hdftz's Method.) 

I may here take the opportunity to give a brief ac¬ 
count of Hartz’s working of the same trick, which also 
has several points of difference from the current ver¬ 
sion. It belongs to what may be called his “ mechani¬ 
cal” period, and in various particulars would be too 
elaborate for the taste of the present-day conjurer; but 
it is interesting as affording a further example of the 
artistic completeness with which, to the smallest detail, 
his illusions are worked out. 

Like myself, Hartz had felt the bottomless box to be 
a weakness. He used in place of it a box with a bottom 
of blackened millboard opening in halves, like the 
familiar rabbit-trap, save that it opened upwards, in¬ 
stead of downwards. The introduction of the inner¬ 
most box into this was effected by means of a special 
table, of small size, which in the first instance stood 
against the side-scene, and was not brought forward 
until needed to rest the boxes on. In the top of this 
table was a trap the exact size of the smallest box, 


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Later Magic 

sinking horizontally on pressure, but normally pressed 
upwards, flush with the top of the table, by the action 
of a candle-spring. The top of the table corresponded 
in appearance with that of the box. On this table, 
until removed from the wing, rested an extra box, in 
appearance somewhat like a Chinese tea-chest, decor¬ 
ated with black and gold. It was of peculiar make; 
for the spaces at the back and bottom were left open 
until the box had served its purpose, when a movable 
back and bottom dropped into position. This dummy 
box masked an opening in the side-scene, through 
which, at the proper moment, the assistant passed the 
small box in which the watch was hidden, and lowered 
it down on to the trap (which was already depressed 
and secured by a spring catch), when it became, to all 
appearance, part of the table-top. 

Hartz’s method of working was as follows: 

The performer begins by asking the loan of a watch, 
but finds the one offered unsuitable for the purpose, 
for as soon as he takes it in hand it begins to strike. 
(This effect, which always produces considerable 
amusement, is produced by a “ repeater,” hidden in the 
sleeve.) 1 This watch is therefore handed back as “no 
good.” Another is borrowed, and another; but with 
the same result. After two or three attempts, a better 
behaved timekeeper is found, and the performer pro¬ 
ceeds to wrap it up in a lady’s handkerchief, also bor¬ 
rowed ; but presently this watch too is heard to strike 
inside the package. Having got so far, however, the 
performer decided that he must make it do. For 
greater safety, he wraps the watch and handkerchief in 

1 For description of the special form of repeater used by Hartz, 
see p. 149. 

12 


i ;8 


Later Magic 


a piece of paper, and these again in a second piece. 
At this last stage, however, an exchange is made. 
What he actually wraps up is not the watch, but a 
packet of similar appearance taken from the servante, 
and containing a wooden orange, with a watch move¬ 
ment inside it. (It should here be stated, by the way, 
that in wrapping the watch in the handkerchief, the 
performer takes care to make the resulting package as 
spherical as possible.) 

The supposed watch, thus wrapped up, is handed to 
some lady for safe-keeping. She almost instinctively 
puts it to her ear to ascertain by sound if the watch is 
really therein. If not, she is invited to do so, and, as 
she naturally believes, hears the watch ticking inside. 
Meanwhile, the assistant, passing casually behind the 
table, secretly picks up the genuine package from the 
servante, carries it behind the scenes, and puts it into 
the little box, which he locks, and passes, as already 
mentioned, through the opening in the side-scene into 
the trap of the table. 

The “corded box” is not, in Hartz’s version, sus¬ 
pended, but nevertheless has remained in full view 
throughout the evening. At the commencement of the 
trick this is placed on the extreme end of the run-down, 
so as to be practically right among the audience. It is 
supported on four wooden balls by way of feet, each 
having a sharp metal point on its under side. These 
points pass through the baize of the run-down, and rest 
on parallel strips of brass beneath, thereby establishing 
an electrical connection between the box and a battery 
behind the scene. 

No pistol is used, but the performer, at the proper 
moment, takes back the package entrusted to the lady. 


Later Magic 


179 


He announces that he will pass the watch thence either 
into the corded box on the run-down, or into the one 
which previously rested on the side-table against the 
wing, and which, having served its purpose, is now 
brought forward, its back and bottom having now 
assumed their proper positions. The box on the run¬ 
down is natuarlly selected, as offering apparently the 
greater difficulty; the choice being really given merely 
in order to supply a plausible excuse for the presence of 
the black and gold box in the first instance. 

The performer now opens the package entrusted to 
the lady, and finds the orange, which is taken to be a 
genuine one. At the same moment, the supposed watch 
is heard to strike within the corded box, proving to the 
minds of the audience that the demoralized timepiece 
has at that moment arrived therein. As a matter of 
fact, the striking is produced by a “repeater” move¬ 
ment in the bottom of the outermost box, set in motion 
by an electric current, as above indicated. 

The small table which previously stood against the 
wing is now brought forward, and the boxes (a box, as 
the audience suppose) placed upon it. As each box is 
lifted out, the one which contained it is laid aside, and 
the last produced put on the table. From this point 
the trick proceeds after the customary fashion, save 
that when the box with the folding bottom (which is 
of metal, japanned) is reached and placed upon the 
table, the performer has only to draw back a bolt in 
order to make the final box rise automatically into it. 
When this is lifted out, the two millboard flaps of the 
penultimate box at once drop into their places, being 
pressed downward by thin steel springs soldered to the 
back and front of the box. 


i8o 


Later Magic 


THE LOCKED AND CORDED BOX (ill.). ( [De Vere’S 

Method.) 

The following ingenious and somewhat simpler ver¬ 
sion of the trick was communicated to me some years 
ago by Professor De Vere. For the sake of distinction 
I call it by his name, though I cannot be sure, at this 
distance of time, whether he claimed to be himself the 
inventor. It was at that time a “ latest novelty,” but 
I believe it is now common property. 

The requirements for the trick are as under: 



Fig. ho. 


i . A large-sized coloured handkerchief, with a cheap 
watch in going order, wrapped in paper, and sewn in a 
pocket of the “patch” kind, in one comer. 

2. A few pieces of paper about six inches square, of 
different colours. 

3. Three pieces of ribbon, red, white, and blue, each 
about twelve inches long. 











Later Magic 


181 


4. Three wooden boxes, of plain thin deal put to¬ 
gether with French nails, three at each comer, as in Fig. 
no. The lids are mere flat pieces of wood. There is 
no speciality about either of the two larger boxes, but 
the third is a “ trick’’ box, being a sort of rough imita¬ 
tion of the familiar “watch” box. It is four inches in 
length, three in width, and two and a half in depth. 
One end of it is “faked,” after the manner indicated in 
Fig. in. 

The two upper nails, a a, are mere dummies, being 
just long enough to penetrate the sides, but not the end. 




Fig. hi. 


Fig. 112. 


The nails c c, are a trifle longer, but fit loosely in their 
holes, so that they can be drawn out and pushed in at 
pleasure. When pressed home, they make all secure, 
but when drawn out, as in the figure, they allow the 
end to work backwards and forwards on b b, which are 
nails of full length, and act as pivots. This box is 
partially filled with cotton-wool, and is tied round 
with tape and sealed, but it will be observed (Fig. 112) 
that the tape is passed round it after a special fashion, 
so as not to interfere with the opening of the end. 

Thus arranged, this box is placed in the second, 





















82 


Later Magic 


which is a good deal larger, the intervening space being 
loosely filled with paper shavings. This second box is 
tied up in the same way and placed in the third box, 
which again is a good bit larger, the intervening space 
being filled as before. The three boxes thus arranged 
(which may or may not have locks) are in view the 
whole evening. 

To show the trick, a watch is borrowed from one of 
the spectators; a second chooses the paper wherein to 
wrap it; and a third the ribbon wherewith to tie it up. 
The packet is passed round for examination, any one 
marking it who cares to do so. The performer then 
takes it back and wraps it in the prepared handkerchief, 
really wrapping up the watch sewn in the corner in¬ 
stead, and dropping the packet containing the original 
into his right profonde. He lets the spectators hear 
the (dummy) watch ticking in the handkerchief; then, 
ordering it to pass into the box, shakes out the hand¬ 
kerchief, to all appearance, empty. 

The performer now brings forward the nest of boxes, 
and gets some spectator to cut the tapes. While the 
general attention is thus diverted, he gets the packet 
containing the watch into his right hand. Taking back 
the box, he transfers it to the hand in which the watch 
lies (letting it rest on the palm, and thereby covering 
the watch). This enables him to allow any one who 
desires to do so to hear it ticking in the box (?). 

The box is then placed on the table (the watch 
packet being deposited behind it) and opened. The 
paper shavings are removed, and the second box pro¬ 
duced. The first box may now be put aside, the paper 
shavings masking the packet on the table. The second 
box is then opened, and, under cover of the removal 


Later Magic 


183 

of the paper shavings from this, the packet is deftly in¬ 
serted through the open end into the innermost box 
and the end closed. The loose nails are pressed home, 
and the box handed to some spectator to open, those 
who had marked the packet' being invited to identify 
their marks. 


THE FLIGHT OF TIME. 

By way of conclusion to this chapter, I will describe 
a trick, or rather a combination of tricks, to which I 
gave the above title, and which I always found to pro¬ 
duce considerable effect. 

The requirements for the complete combination are 
as under: 

1. Watch-box. 1 

2. Repeater. 

3. Pistol (ordinary), lightly charged with powder. 



Fig. 113. 


4. The wand known as the “ swallowing” wand, de¬ 
scribed at p. 132. 

5. An ordinary wine-bottle cork, as a (Fig. 113), 
and one half of a similar cork, into which is cemented, 
with sealing wax or otherwise, a pin bent at right 
angle, as b in the same figure. 

6. A stout black pin, bent into an S-shaped hook. 

1 For description of the watch-box, see Modern Magic , p.219. It 
need not be of the “ticking” variety. 




184 


Later Magic 


This, which should have a sharp point, is hooked 
into the cloth of the right trouser-leg, just covered by 
the coat-tail, and at such a height that when the 
arm is dropped to the side the fingers can reach it 
comfortably. 

The sliding tube for the wand may rest till wanted 
in the right pochette, or anywhere else, so long as it is 
readily get-at-able. The cork and half-cork should be 
in one of the ordinary tail-pockets, and the watch-box 
and pistol on the table. The repeater may be placed 
where and how the performer finds it most convenient 
to work it . 1 

The patter may run somewhat as follows: 

“I am always borrowing, ladies and gentlemen. 
This time I want to borrow a lady’s watch. Thank 
you, madam. I suppose, by the way, this watch is 
all right? It’s essential for this experiment to have 
a healthy watch.” [He bends it backwards and for¬ 
wards.] 2 “It seems a bit soft, somehow. Somebody 
has been sitting on it, I fancy. Anyhow, it seems a lit¬ 
tle bit poorly”—(he listens to the ticking)—-“and the 
tick isn’t quite right. It’s a sort of tic doloureux.” 
[Repeater strikes, and goes on to thirteen, performer 
counting the strokes.] “ That’s odd! I should be sorry 
to destroy your confidence in your watch, madam, but 
I really think, if it always strikes thirteen at a quarter 
past eight, it can’t be quite well. I dare say, however, 
it only wants regulating. I ’ll regulate it for you by 
my patent process, and it will never go again—go 
wrong, I mean, again. 

1 I myself always used the Hartz form of repeater, described at 
p. i 49 - 

2 Modern Magic, p. 214. 


Later Magic 


185 

‘‘The lady seems to be feeling a little bit nervous. 
You ’re afraid your nice little watch may be hurt, 
madam. If you like, I ’ll give it gas, like the dentists. 
There ’s always plenty of gas at a conjuring entertain¬ 
ment. Or, better still, to relieve your mind, we will 
put it away in this little box. You shall lock it your¬ 
self, and keep the key. Now your mind will be quite 
at rest, won’t it? We will leave the box here in full 
view, on the table.” [In returning to the table he ex¬ 
tracts the watch, but keeps it in his hand, covered by 
the box.] “ One moment, though ; I think I heard 
some one say the watch was no longer in the box. Let 
me satisfy you that it is; can you hear it, madam ? and 
you? ” [He holds the box out to one or two spectators 
in succession. Hearing the watch ticking in his hand, 
they arc satisfied that it is in the box, and testify ac¬ 
cordingly. Transferring the box to the left hand, he 
places it on the table, and at the same moment dropping 
the right hand to his side, hooks the watch on to the 
bent pin.] 

“ Now I shall want the assistance of some gentleman. 
Who will oblige? Thank you, sir. Face the company, 
please, stand upright, square your shoulders, and hold 
your bands clasped on your chest, so.” [Performer, 
standing on left side of assistant, at the words ‘ square 
your shoulders,’ presses him lightly on the chest with 
the left hand, and on the back with the right hand, as 
if merely to indicate the proper position. Meanwhile, 
however, the right hand dropping to the side has 
brought up the watch, still on the bent pin, and as it 
touches the back, hooks the point into the cloth of the 
coat, between the shoulders.] “Stop one moment. 
Show the company, please, that your hands are at 


Later Magic 


186 

present empty. Good. Now clasp them in front of 
you, as tightly as you can. 

“Now, sir, I am going to show you a rather curious 
effect. This pistol is loaded with 273 grains of a very 
powerful explosive (I have to be very particular about 
the quantity), and when I fire, it will blow the watch 
clean out of the box into your hands. I hope you are 
not nervous. There is really no danger—at least, 
none worth mentioning. I have performed this experi¬ 
ment nearly a thousand times, and I have never killed 
anybody yet,—unless he happened to move just at the 
moment I was firing. So don’t move if you can help 
it. Now, steady! One, two, three!” [He fires.] “You 
don’t feel mortally wounded anywhere? No? I con¬ 
gratulate you on your lucky escape. Hand the watch 
back to the owner, please. You haven’t got it? You 
really didn’t feel it hit you anywhere? No? Then it 
must be still in the box. You have the key, madam. 
Will you please unlock the box, and take it out your¬ 
self. What do you say? The watch is gone? Then, 
sir, it must be in your possession. Come, now, a joke is 
a joke, but it must not be carried too far. Kindly re¬ 
turn the lady her property. You still maintain you 
haven’t got it? But, my dear sir, I fired it straight 
into your hands.” 

After a little more by-play, the performer places 
himself so as to catch sight of the watch, and turns the 
victim round that the audience may see it also. He 
takes the watch, and in so doing detaches the hook. 

“ I see how it is. It was my mistake, after all, so I 
forgive you. I must have charged the pistol a little 
too heavily,—even half a grain makes a difference,— 
and it drove the watch clean through you. I am sorry 


i »7 


Later Magic 

to see you look incredulous, ladies and gentlemen. You 
don’t think I would deceive you about a little thing like 
that! But I can easily prove to you that there is no 
deception. If the watch did not go through the gentle¬ 
man, how do you account for this hole through his body ? ” 
In the course of his patter, the performer has taken 
from the pochette the little tube, and slipped it on the 



Fig. 114. 

wand, keeping it covered by his hand. Turning the 
victim with his right side to the company, the performer 
applies one end of the wand to his back, covering the 
mount with his left hand, as in Fig. 114, and with the 
right hand moves the sliding tube backwards and for¬ 
wards, the arm screening the outer end of the wand. 
The effect to the spectators is that the visible part of 




188 


Later Magic 


the wand shortens and lengthens, as if it was being 
actually drawn in and out of the body. 

“This is an unfortunate accident, sir, but you know 
accidents will happen, even in the best regulated enter¬ 
tainments. You won’t feel any ill effect from it, unless 
indeed you happen to get in the way of a draught, in 
which case you might have perigastric inflammatitis of 
the paregoric honorarium, which no doubt would be 
rather serious. So we must find some means of stop¬ 
ping the hole. Let me see, I generally have a cork 
somewhere about me.” [Thrusting his hand into his 
tail pocket, he brings out the cork and the half-cork, the 
former openly, the latter hidden in the palm.] “Yes, 
here it is. If this fits, it will be just the thing.” [Pre¬ 
tending to insert the cork in the imaginary hole, he in 
reality substitutes the half-cork, attaching it to the 
coat by means of the bent pin, in the position pre¬ 
viously occupied by the watch.] “ Capital! Now, sir, 
you have only to wear that cork for a few days, and 
you will be all right. What do you say? You would 
rather not wear it, even for a few days? Well, per¬ 
haps it does look a little conspicuous. Of course, if you 
object, I must take it out again.” [He removes the half¬ 
cork, in so doing changing it for the whole cork, which 
he exhibits in its place.] “ Fortunately, I can always fall 
back on the magic wand. It has never failed me yet, 
and I have no doubt it will help me on this occasion. 
In fact, you shall cure yourself. Take the wand in 
your own hand, and say ‘ Aldiborontiphosphicophor- 
mio.’ Nice soothing word, isn’t it?—but you haven’t 
got it quite right; try again. That is better; the hole 
is closing already. Now please return the watch to the 
lady, and you will both live happy ever afterwards.” 


CHAPTER VI. 


TRICKS WITH RINGS. 

TO EXCHANGE THE RING OR RINGS. 

A S with watches, so with rings; the first thing to be 
done is usually to get possession of the borrowed 
article by substituting another of like appearance in 
its place. 

For combined neatness and simplicity it would be 
hard to beat the plan adopted for this purpose by 
Mr. David Devant. Having asked for the loan of a 
ring, he receives it on the tip of the outstretched fore¬ 
finger, and so holding it in full view, returns to his 
stage, where he drops it (say) into a tumbler on the 
table. “All fair so far,” is the natural reflection of the 
spectator. But the spectator doesn’t know that at the 
outset, on the top of the second finger, which, with 
the third and fourth, is folded out of the way into the 
palm, the performer has a substitute ring. At any 
convenient moment during his transit, the middle 
finger flies up, and the forefinger is folded down in its 
place, this trifling movement being completely covered 
by the greater movement of the arm and body. It is 
therefore the substitute that is dropped into the glass, 
the original remaining in the performer’s own keeping. 

Some performers place the substitute ring on the 
forefinger, and receive the genuine ring on the second 

189 


190 


Later Magic 


finger, but I see no advantage in the change; indeed, 
Mr. Devant’s plan appears the more natural. 

Another method is to receive the borrowed ring on 
the end of the wand, and thence to let it slide into 
a glass or on to the table. Again nothing could in 
appearance be fairer, and yet the ring is changed in 
transit. 

When the performer advances to take the ring, he has 
the substitute threaded on to the lower end of the wand, 
masked by the hand (say the right) which holds it. 
During the transit, he transfers the wand to the other 
hand, which seizes it by its free end. To facilitate this, 
that end is depressed, and for a moment is the lower of 
the two. During that moment the genuine ring slides 
down into the left hand, where it remains hidden, 
while the substitute, released from the right hand, 
takes its place on the wand. This plan has the ad¬ 
vantage that, by preparing the wand accordingly, two 
or more rings can be “changed” at once, as easily as 
one only. 

Again, a borrowed ring may be received in an ordi¬ 
nary wooden match-box, which is at once closed, and 
yet the ring passes instantaneously into the possession 
of the performer. I have said an ordinary match-box, 
and the description is correct as far as it goes, but the 
box must be “ faked” a little to adapt it for this special 
purpose. The outer case is not interfered with, but on 
the inside of one end of the drawer portion (see Fig. 115) 
a cut is made with a sharp penknife from a to a, just 
deep enough to divide the wood, but not to injure the 
blue paper which forms an outside covering to this 
portion of the box. Further cuts are made from a to 
b at each comer, and another from b to b; all these, 


Later Magic 


191 


however, dividing both wood and paper. The effect 
of this is that the portion so dealt with, abba , becomes 
a little flap-door, as indicated by the dotted lines, the 
blue paper left unbroken between a a forming the hinge. 



To prepare it for use, the box is opened by pulling out 
the drawer half-way, its “faked” end being thus 
brought to the centre of . the outer case. The little 
trap-door is then pushed open. When receiving the 
ring, the performer holds the box with the fingers 
underneath and thumb above, under which conditions 
the ring naturally passes right through the box and 
falls into the palm of the hand. When it has duly 
arrived, a pressure of the thumb and fingers on the 
opposite ends closes the box, and at the same time 
brings back the little flap to its normal condition, the 
ring lying perdu beneath the box. 

This little apparatus has the advantage of costing 
practically nothing. It is equally available for use 
with a marked coin or any other very small object. 

TO CATCH RINGS ON THE WAND. 

Three rings are borrowed, and collected by the per¬ 
former on his wand, as above described. Thence they 
(in fact three dummies substituted for them as de¬ 
scribed on p. 190) are dropped into a tumbler upon the 











Later Magic 


192 

table. The performer turns his back on them for a 
moment. When he again turns round, “Where are 
the rings?” They have left the glass, for he turns it 
upside down, and it is seen to be empty. After a little 
by-play, he declares that he sees them floating about 
the room, and will catch them on his wand. He rubs 
the wand a little to intensify its magnetic force, and 
then makes a slash with it in the air. A ring is seen to 
have been caught upon it. Another wave of the arm, 
and two appear, the third being next caught in like 
manner. Without removing the rings from the wand, 
he brings them forward, and has them taken off by 
their respective owners. 

The disappearance of the substitute rings may be 
neatly effected by means of a bottomless tumbler (p. 
92) and one of the pockets of the special table de¬ 
scribed at p. 86. It is best in this case to have only 
half of the bottom of the tumbler removed, that the 
rings may, by falling on the remaining half, make the 
sound that would be naturally expected from them. In 
default of a tumbler arranged as above, a piece of 
glass may be placed at the bottom of the pocket, and 
the rings allowed to fall through the tumbler directly 
on to this. 

The pouring into the glass is, of course, but one of 
many possible methods of getting rid of the dummy 
rings. They may be placed in the brass plug-box, the 
Davenport cabinet, the watch-box, or the ring-box, 
made on the same principle. 1 

In this particular, the performer may very well be 
left to his own devices, but the “catching” of the 
original rings on the wand is a novelty. For this pur- 

1 Modern Magic, pp. 192, 195, 219. 


Later Magic 


193 


pose, he must be provided with a cap of thin brass (as 
a in Fig. 116) exactly fitting the end of the wand, and 
in appearance made to exactly resemble one of the 
mounts, so that, whether it be on or off the wand, it 
shall make no difference in the appear¬ 
ance of the latter. To the inner edge of 
this cap is soldered a bit of thin wire, 
about three eighths of an inch long, 
sloping slightly outwards. When the 
cap is on the wand, the appearance of 
the two is as b in the diagram. 

This cap the performer has under his 
vest, or in a pochette on his left-hand 
side. When he is about to begin the 
ring-catching, he gets this into his left 
hand, and slips it secretly on to the free 
end of the wand, on the opposite end of 
which, covered by the right hand, are the three bor¬ 
rowed rings. One of these he works quietly up be¬ 
tween the forefinger and thumb. He makes a dash 
in the air, at the same moment releasing the first 
ring, which, under the impulsion of centrifugal force, 
flies to the opposite end of the wand, where its far¬ 
ther progress is checked by the little wire. The 
second and third rings are “caught” in like manner. 
He then says: “Before I remove the rings from the 
wand, I should like the owners to testify that they are 
really their own property, and that there has been ‘ no 
deception/” So.saying, he advances, holding the 
wand horizontally, one end in each hand. In removing 
the left hand, he draws off the cap within it, and then 
allows the owners themselves to remove their rings 
from the wand. 


d 



Fig. 116. 















194 


Later Magic 


A BORROWED RING FOUND IN A POTATO. 

This effective little trick, for which the conjuring 
fraternity is indebted to the clever American wizard, 
Mr. W. E. Robinson (now better knowm as Chung Ling 
Soo), is a more up-to-date version of the “Magic Ball 
and Rings,” described at p. 231 of Modern Magic. In 
effect it is as follows: A plain gold ring is borrowed, 
and secretly exchanged, the substitute being entrusted 
to the keeping of some juvenile spectator invited on to 
the platform. Bringing forward on a plate three or 
four raw potatoes, the performer requests the audience 
to select one of them. The selection being made, he 
returns to his table, transfixes the chosen potato with 
a sharp-pointed wire rod about fifteen inches long, 1 
and gives this to be held by another juvenile. Taking 
the (substitute) ring from the holder, he announces 
that he is about to pass it into the potato. The manner 
of its disappearance may be varied at pleasure. Thus 
he may get rid of it by simple palming (the “finger” 
palm being in this case the best), by means of a pull, 
or by placing it in the magic pistol and firing it at the 
potato. 

Having got so far, he says, “The ring is now in the 
potato.” Taking the latter from the holder, he cuts it 
in half crossways, still leaving the two halves skewered 
on the wire. “We don’t seem to have come to it yet,” 
he remarks. “By the way, which half of the potato 
would you like to find it in? Which piece shall it be, 
the right or the left?” The choice is made, and on the 


1 A large-sized wooden or bone knitting-needle makes a very 
good substitute. 


Later Magic 195 

chosen piece being cut open, the borrowed ring is found 
imbedded therein. 

The first point to be explained is the preparation of 
the potato. Having selected half a dozen potatoes, as 
nearly alike in appearance as possible, you cut from one 
of them, with an apple-corer or a sharp knife, a tapering 
plug, a trifle larger in circumference than a lady’s ring. 
This plug, which should extend well into the farther 
half of the potato, is then shortened by cutting an 
eighth of an inch off its smaller end, and the inner 
end of the cavity is scraped quite flat. In this con¬ 
dition the potato is placed in readiness behind the 
scenes. When the performer retires to fetch the plate 
of potatoes, he introduces the ring, which he carries 
off with him, into the cavity, replaces the plug, and 
tucks the potato, thus loaded, under his vest. In 
returning to his table, after an unprepared potato 
has been chosen, he deftly exchanges it for the pre¬ 
pared one, and impales this latter on the wire rod, 
the point passing through the centre of the plug, 
and consequently through the ring. When, having 
cut the potato in half, he asks the audience to 
choose, “Right, or left?” he stands holding the rod 
horizontally before him, the loaded half of the potato 
being, say, nearest his left hand. He then avails 
himself of the time-honoured equivoque. If the choice 
is “right,” he says: “Your right? Very good!” If 
“ left,” he alters the phrase to “My left? Very good!” 
—the apparent “choice” thus falling in either case as 
he desires. 

The unused piece, containing the plug, is carelessly 
thrown aside, out of the way of inconvenient inspec¬ 
tion. 


196 


Later Magic 


THE RING AND THE CARD. 


A card having been drawn from an ordinary pack, the 
performer proceeds, by the aid of a stiletto, to make 
three holes in it; each about three eighths of an inch in 
diameter, in the positions shown in Fig. 
117. Through the two upper holes he 
threads a piece of silk cord or narrow 
ribbon about four feet in length, and 
attaches each end to the back of a 
chair, so that the card may hang, with 
its face to the company, suspended be¬ 
tween them. Through the third hole 
he passes a short piece (say, six inches 



Fig. 117. 


long) of similar cord or ribbon, tying the ends together 
so as to form a hanging loop. 

His next proceeding is to borrow a wedding ring, 
which, being a highly valued article, he places in a box 
for safe-keeping. He then announces that, by the aid 
of the magic wand, he will take the ring invisibly out 
of the box, and pass it on to the hanging loop of ribbon. 
Touching the box with the wand, he advances to the 
card, and gives it a gentle tap therewith, when the ring 
is instantly seen hanging from the loop, and is in due 
course identified by the owner, the box being found 
empty. 

It is humiliating to have to confess that, notwith¬ 
standing this apparently irresistible evidence of iden¬ 
tity, the ring which appears on the ribbon is not the one 
which was borrowed, but a substitute which has been 
well rubbed on one side with soft beeswax or dry soap. 
This may rest till wanted on a short nail or needle¬ 
point driven into the back of one of the chairs. In due 





Later Magic 


197 


time the performer gets it into his hand and, under 
cover of the insertion of the short end of ribbon in the 
card, presses the waxed side against the back of the 
latter, in such manner that it shall surround the lower 
hole, the ribbon passing through it. 

A wedding ring is now borrowed and is placed in 
some apparatus (such as the ring-box, or Davenport 
cabinet) which enables the performer to get secret 
possession of it. This done, he threads it privately on 
to the end of the wand, where it remains concealed by 
the right hand. When he desires to make the ring 
appear on the loop, a smart rap with the wand on the 
face of the card suffices to overcome the very slight 
adhesiveness of the wax, and to cause the dummy ring 
to fall into the loop, where it remains suspended. 
Under cover of the necessary untying of the knot it is 
an easy matter to exchange the ring for the original. 

Another alternative is to cut the ribbon, thread the 
substitute ring on to the free end of the wand, and offer 
it on the wand to the owner, meanwhile making the 
change in manner described at p. 190. 

Another and better method of causing the appearance 
of the dummy ring is by means of a silk thread passed 
through it beforehand and pulled at the right moment 
by an assistant behind the scenes. In this case there 
is no need for the performer to approach the card at all, 
after the preliminary arrangements have been made. 

So soon as the ring has appeared, and is in the 
hands of the performer, the assistant releases one end 
of the thread, and draws it away by pulling on the 
other, or it may be cut by the performer in the act of 
cutting the loop of ribbon. The ring may in this case 
be professedly fired from a pistol, thereby enhancing 


198 


Later Magic 


the effect of the trick, as the backward swing of the 
card, caused by the pull of the thread, is regarded by 
the audience as produced by the force of the shot. 

THE MYSTIC GLOVE AND RINGS. 

This is essentially a stage trick, and demands a good 
deal of preparation. The principal item of apparatus is 
a hollow glass column on a heavy metal foot, and 
standing about two and a half feet high. This is sur¬ 
mounted by a cylindrical metal cup, measuring, say, 
three inches across by two deep. 

Briefly stated, the effect of the trick is as follows: 
Four rings are borrowed from different spectators, and 
placed in a pistol. A white glove, sometimes bor¬ 
rowed, sometimes the performer’s own, is used as a wad. 
The column above mentioned is then brought forward 
and placed on a table. The performer fires at it. At 
the moment of the discharge the glove springs up, as if 
distended by the sudden insertion of a spirit hand, and 
remains (for a short time) erect on the cup at the top 
of the column. On each of the fingers is one of the 
borrowed rings, which are then taken off and returned 
to the owners. 

So much for the effect; now for the explanation. 
The rings borrowed are exchanged, by one or other of 
the methods already described. The substitutes are 
placed in the pistol, and the originals passed off behind 
the scenes, where the performer’s assistant places them 
in the cup at the top of the column. Fixed vertically 
within the cup is a short piece of brass tubing, about 
two inches in diameter and one and a half inches deep. 
A white glove is beforehand drawn over this tube as 


Later Magic 


199 


far as the palm, and secured in position by a strong 
rubber ring passed over it. The assistant places one 
of the borrowed rings on each finger of this glove, and 
then folds down the fingers loosely into the cup. 

When the column is brought forward, it is placed 
over a hole in a table, standing with its back against 
the side-scene. This hole forms the outlet of a rubber 
tube, which passes through the table to the retreat of 
the assistant behind the scenes. At the moment when 
the pistol is fired, the assistant blows vigorously 
through the tube. 1 The rush of air expands the glove, 
which springs up like an opening hand, with a ring on 
each finger, as already described. 

The trick in this shape is a very old one, and was, in 
fact, one of the inventions of the arch-conjurer, Robert- 
Houdin, who worked it in conjunction with a shooting 
automaton. My chief object in here noticing it is 
to call attention to the somewhat different working 
adopted by Hartz, which is in several particulars an 
improvement upon that of Robert-Houdin. 

The column, in this case, is of clear glass throughout; 
and is not brought on after the borrowing and passing 
off of the rings, but has been on the stage, in full view, 
from the very commencement of the performance. In 
place of the metal cup, it is surmounted by a solid 
block of wood, of about the same size, but hexagonal 
in form, and connected with the top of the column by 
means of a cork plug, also solid, on its under side. In 
conjunction with the column is used a small round 
table, having a polished blackwood top, and placed at 
the outset near the centre of the stage. 

1 In more modern times, pressure on an air-ball has been substi¬ 
tuted for this rather elementary proceeding. 


200 


Later Magic 


Three rings only are borrowed. The performer 
states that he is about to fire them from a pistol, and 
asks the loan of a glove to act as wad, but bethinking 
himself that the article may probably be damaged, 
ultimately decides to use one of his own. He tells his 
assistant to bring him a white glove and a piece of 
paper, which are accordingly brought in on a tray. 
This is placed on the little table above referred to, the 
column as yet standing back on a larger table. 

Taking the borrowed rings, the performer places 
them on three fingers of the glove, making as he does 
so a running commentary on their appearance, that 
they may be afterwards the more readily recognized. 
Then holding the glove by the finger-tips, he brings it 
forward, that the owners may testify that the rings are 
really their own. Still holding the glove, fully dis¬ 
played, in his left hand, he returns to the little table to 
get the piece of paper wherein to wrap it up, and during 
the transit gets from under his vest into his right hand 
a little cylindrical package, about two inches in length 
by one in diameter, folded in similar paper. This he 
palms. On reaching the table he folds the glove, with 
the rings still on it, into a small compass, lays it on the 
piece of paper, and wraps this round it, rolling it into 
a cylindrical shape on his knee. The ends of the roll 
are in the first instance left open. In folding them 
down he substitutes the dummy parcel, and lays this 
instead on the tray. 

He next exhibits a pistol, already loaded with a very 
small charge of powder. In this he places the dummy 
packet and asks some gentleman to ram it down. Pre¬ 
tending to notice that the gentleman is nervous, he 
pours him out a glass of wine from a bottle standing 


Later Magic 


201 


in readiness, and being, in fact, the trick bottle de¬ 
scribed at p. 50. He drops the genuine packet into 
the cavity in the bottle (which is forthwith carried off 
by his assistant). Laying aside the pistol for a mo¬ 
ment he now brings forward the glass column. Re¬ 
moving the block of wood at top, he hands this first to 
be examined, leaving it, as comparatively unimportant, 
in the hands of the holder, while he himself passes on 
to exhibit the column to other spectators. 

Meanwhile the assistant has in readiness behind the 
scenes another block, of similar appearance to that 
offered for examination, but of much more elaborate 
construction, representing, in fact, the “cup” of the 
earlier version. 

Though solid in appearance, it is in reality hollow, 
the top being closed by what in stage parlance is called 
a “star” trap, as shown in plan in 
Fig. 118. The top is divided into six 
triangular segments, meeting in the 
centre. Each of these is hinged to 
one of the upper edges of the hexa¬ 
gon, so as to work in an upward di 
rection with the utmost freedom. 

Within the block is a shallow brass 
cylinder, to which is secured, by means of a metal 
ring fitting closely over it, a white glove. As in 
the case of the solid block, there is a cork plug on 
the under side, but in this case a piece has been 
punched out of its centre, so as to allow the passage of 
air. The moment the assistant has carried off the 
bottle, he extracts the little packet, takes out the rings, 
and places them on three of the fingers of the prepared 
glove. Closing the trap, and making all snug again, 








202 


Later Magic 


he returns to the stage and stands in a waiting attitude. 
The performer, still occupied in offering the column for 
examination, tells him to take the block from the gen¬ 
tleman who is holding it, and put it on the table. This 
he does, or apparently does, in reality substituting the 
prepared block, which the performer presently places 
in position on the top of the column, this latter being 
then placed on the little table, and the table on the end 
of the “run-down” farthest from the stage. 

The table itself now demands a word of explanation. 
It stands on a central leg, branching into three carved 
feet. The leg is hollow, a plain brass tube extending 
from top to bottom, and communicating with a little 
hole bored in the centre of the table-top. In the tube 
is a piston, working easily, and normally forced up¬ 
wards, nearly to the top, by means of a candle-spring, 
but capable of being pressed downwards by means of a 
rod inserted from above, and in that position held 
down by means of a spring catch; such catch, however, 
being withdrawable by the action of an electric cur¬ 
rent. From the catch, wires pass down two of the feet, 
terminating in sharp metal points, projecting from the 
under side of each. 

Passing along the run-down, underneath the carpet, 
are two strips of brass, which are connected with an 
electric battery behind the scenes. So long as the two 
points above mentioned rest anywhere on the brass 
strips, they also are in electric connection with the 
battery. When the pistol is fired 1 at the column, the 

1 As the pistol contains only a light wad of paper, the discharge, if 
directed towards the stage, cannot do any damage. The better 
plan, however, would be to use such a pistol as described in More 
Magic, p. 442, in which the contents of the principal barrel do not 
leave the pistol at all. 


Later Magic 


203 


assistant presses a stud which completes the circuit. 
The catch is withdrawn and the piston flies upwards. 
The column of air above it is forced up the glass pil¬ 
lar. The glove is distended and flies up into view, the 
segments of the trap making way for it. Each of these 
describes a three-quarter circle and falls right over, 
hanging when at rest against its own side of the block, 
which is so decorated that the new condition of affairs 
shall make no change in its appearance. It should be 
mentioned, by the way, that the foot of the column is 
flat on its under side, but has a cup-shaped cavity in 
the centre, which relieves the performer from the ne¬ 
cessity of placing it exactly over the hole in the table. 

The performer has only just time to remove the rings 
from the glove before it begins to sink down again, in 
consequence of leakage of air between the column and 
the table. The performer calls attention to this sink¬ 
ing, as proving that the sudden expansion of the glove 
was really magical, and not produced by any mechanical 
means. 

I have described this illusion at exceptional length, 
as illustrating (apart from its intrinsic interest) the 
extraordinary amount of thought and labour a true 
artist will expend on the perfecting of a single trick. 
Genius has been described as “an infinite capacity for 
taking pains.” Whether this definition covers the 
whole ground may well be questioned, but it is certain 
that taking pains is the only sure ground for success as 
a conjurer; and in this unlimited capacity for taking 
pains and ceaseless striving for the best effect possible, 
Hart £ is not outdone even by the Master—Robert- 
Houdin. 


204 


Later Magic 


THE WEDDING RING AND FLAG. 

A wedding ring is borrowed and handed to some lady 
for safe-keeping. An ordinary tumbler, covered over 
with a borrowed handkerchief, is then entrusted to the 
same lady, with a recommendation to keep it well cov¬ 
ered and to hold the ring tight, as otherwise the latter 
will slip away from her hand and fly into the glass. 
Pretending to perceive that she is getting anxious, the 
performer says he will wrap the ring in paper for her. 
He does so, but when about to return it to her, changes 
his mind, and says he will pass it into the candle on 
the table. On his bringing it close to the flame, the 
paper ignites with a flash and nothing is left, the ring 
having disappeared altogether. 

The operator next exhibits a little silk flag of some 
conspicuous pattern, say the tricolour or Union Jack. 
He rolls it between his hands, when it changes into a 
quantity of flowers of similar colours. He pretends dis¬ 
tress at the disappearance of the flag, as he says he had 
depended upon the flag to get the ring out of the candle. 
He asks the owner of the ring whether she will accept 
the candle in its place. Naturally she objects, and he 
makes believe to be in serious perplexity, when a 
happy thought strikes him. He asks the lady holding 
the glass to take off the handkerchief. She does so, 
and finds in the glass the missing flag, in which is 
wrapped the wandering ring. 

The reader, being of the inner circle, will doubtless 
have made a pretty good guess at the working of the 
trick, though it is extremely puzzling to the uninitiated. 

The borrowed ring is exchanged at the outset of the 
trick, by one or other of the processes already described, 


Later Magic 


205 


for a substitute, and it is this latter which is really 
handed to the lady for safe-keeping. On a servante 
behind the table on which the empty glass stands is a 
similar glass, over which is placed a duplicate flag, 
having its centre pressed down into the glass, but the 
four corners hanging outside. When the performer, 
having borrowed a handkerchief, passes behind his 
table to pick up the visible glass, he drops the borrowed 
ring into the hidden glass, and consequently into the 
centre of the flag. While in the act of covering the 
visible glass with the handkerchief, he with the other 
hand turns in the overhanging corners of the flag, and 
exchanges the two glasses. For greater security he 
may, if he pleases, pass a rubber ring over the handker¬ 
chief, after which the glass is handed to be held as 
already described. 

The bit of paper in which the substitute ring is 
wrapped is, of course, “flash paper,” and the paper is 
so folded that as soon as the little packet is placed on 
end the ring slides out into the hand. There are 
various ways of folding a paper to answer this condi¬ 
tion. Perhaps as good as any is the following: Taking 
the paper, which should be a little over three inches 
square, in his left hand, with the ring visibly secured 
against its centre by the forefinger, the performer folds 
down the upper third of the paper over the ring. He 
next proceeds to turn down the two sides, and lastly 
the lower third; but instead of folding these forward , 
as he did with the upper portion, he folds them back¬ 
ward. If the folding be quickly done, no one will 
perceive anything unusual about it, but the effect will 
be that the ring is left in an outer fold, formed by the 
centre of the paper and the portion first turned down. 


206 


Later Magic 


This fold is open at its lower edge, so that the per¬ 
former can secure the ring at pleasure. Before allow¬ 
ing it to slip out, however, he presses the folded paper 
smartly between finger and thumb, the result being 
that an impression of the ring, in bold relief, is formed 
upon it, proving apparently, up to the very moment 
when the paper is flashed off, that the ring is still 
therein; though, as a matter of fact, it has some mo¬ 
ments earlier found its way into the profonde, or been 
dropped on a servante. 

The change of the flag into flowers is effected by the 
use of the barrel-shaped colour-changing fake described 
in the following chapter. The flowers, which are of 
the usual “spring” kind, are packed into one end of 
the tube, and are forced out by the act of working the 
flag into the other, after which the “pull” carries the 
fake up the sleeve. 


CHAPTER VII. 


TRICKS WITH HANDKERCHIEFS. 

NTIL within the last few years, handkerchief tricks 



LJ proper, i. e ., tricks in which handkerchiefs play 
the principal part, might almost have been counted on 
the fingers oh one hand. Now, their name is legion. 

As an accessory, the handkerchief has always been 
popular with conjurers. If anything had to be covered 
over, or wrapped up, during some process of transforma¬ 
tion, a borrowed handkerchief was just the thing for the 
purpose, and one white handkerchief was so very like 
another than an article so enveloped was “changed” 
with special facility. But, until Buatier de Kolta 
showed the way, no one seems to have appreciated the 
intrinsic capabilities of the silk handkerchief as a 
magical “property”; and he indeed took advantage of 
them only to a very limited extent. But, the hint 
once given, others were not slow to make use of it, and 
handkerchief tricks, in one shape or another, now 
form a part of almost every magical programme. 

The prime virtue of the silk handkerchief is its com¬ 
pressibility. To utilize this quality to the utmost, the 
handkerchief must be small (about fourteen inches 
square is for most purposes the best working size) 1 and 
the silk must be of a suitable kind. China silk, of a 

1 Where production in great numbers is aimed at, smaller hand¬ 
kerchiefs, down to ten inches square, are frequently used. 


207 


208 


Later Magic 


thin make, answers well enough; but the article gen¬ 
erally preferred is a good French sarsenet. It should be 
passed once or twice through water, to remove the dress¬ 
ing, wrung out, and laid flat to dry, after which, and 
a little use, it will be in good working order. The ex¬ 
tremely small space into which such a handkerchief can 
be packed is incredible to any one who has not actually 
tried it. 

Silk has the further advantage that, owing to its 
elasticity, it expands, on being released, to a bulk out of 
all imaginable proportion to the space in which it has 
previously been confined. 

The primary effects to be produced with handker¬ 
chiefs (apart from knot tricks, which come under a 
special category, and which I do not now propose to 
deal with) 1 are four in number, viz., magical produc¬ 
tion, change of colour, magical disappearance, and 
magical reproduction. 

The power of producing a handkerchief or handker¬ 
chiefs apparently from nowhere has a double value. 
In the first place, the production is in itself a feat 
of magic; and in the second, it provides the per¬ 
former with the precise article he requires for his 
subsequent manipulations, and excuses his non-adop¬ 
tion of his customary plan of borrowing; which in 
the present instance would for many reasons be incon¬ 
venient. 

The subject of handkerchief tricks is so large a one 
that it will be well to treat it in separate sections, as 
above indicated. 

1 Readers interested in this branch of the subject will find much 
useful information in a little pamphlet entitled New Handkerchief 
Tricks, by Professor Ellis Stanyon. 


Later Magic 2< 

Section I. 

THE MAGICAL PRODUCTION OF HANDKERCHIEFS. 


Methods of handkerchief production are very numer¬ 
ous. I proceed to describe a few of those found most 
generally useful. 

THE FALSE FINGER. 

One of the most ingenious methods of producing a 
handkerchief from the apparently empty hand is by 


A 



means of a false finger. Of these there are two or three 
kinds in use. The first (see Fig. 119) is made in imita¬ 
tion of the extended middle finger. It is of very thin 
brass, or better, celluloid, coloured to match the hand, 
and inserted when in use between the second and third 
fingers of the right or left hand as in the figure. It will 
be observed, on inspection of the detail drawing, a, in 
the diagram, that the finger is not chopped off square, 

it were, but the metal is cut away on each side, so 
14 












210 


Later Magic 


that it tapers both at back and front to a rounded point. 
The fork thereby formed acts as a sort of clip to hold the 
finger in position; and, strange to say, the hand thus 
supplemented may even be shown full front, so long as 
it is not absolutely at rest, without any one noticing 
that it has an extra finger. With the hand held hori¬ 
zontally, the false finger is absolutely invisible. 

For “production” purposes the handkerchief is be¬ 
forehand loaded into the finger, the comer last inserted 
being left just within reach, at the bottom of the fork. 
The performer usually either comes forward with the 
finger already in place on the hand, or carries it in the 
trouser-pocket, at the right moment carelessly placing 
his hand therein, and bringing it out again with the 
finger in position. This, however, involves a certain 
amount of fumbling, which is best avoided. A better 
plan is to have a special pocket made to receive the 
finger at the back of the trouser-leg, level with the 
pochettes, and covered by the coat-tail. It should be 
of such a size as to accommodate the finger easily, while 
still keeping it stiffly upright, and of such a depth as to 
cover two thirds of its length. Carefully placed in such 
a pocket, the fork of the artificial finger at once meets 
the fork formed by the junction of the natural fingers, 
and the mere dropping of the hand to the side suffices 
to get the appliance into its proper position. 

The actual production of the handkerchief is usually 
effected by bringing the hands together and working 
it out between the finger-tips. Mr. Maurice Garland 
was, I believe, the first to produce it by the aid 
of the one hand only—a material improvement. His 
plan is, under cover of a wave of the arm, to bend the 
sham finger over towards the ball of the thumb, when 


Later Magic 


211 


its open end will naturally be between the thumb and 
first finger. The remaining fingers grip the “fake,” 
while the above-named work the handkerchief out of it. 
With a little practice, this useful sleight can be per¬ 
formed as easily with the left hand as with the right. 

A later pattern of ‘ ‘ finger ’ ’ permits of the hand being 
shown back and front, even at rest, without any visible 
addition to the number of the fingers. The extra finger 
in this case is constructed as in Fig. 120. It is some¬ 
what shorter than the older form, representing only the 
two upper joints of the finger, and is provided with a 
spring clip, whereby it is attached, from the back, to 



Fig. 120. 


the lowest joint of the middle finger. When the palm 
of the hand is shown, this finger is kept straight, and 
the artificial finger is concealed behind it. When 
it is desired to show the back of the hand, the middle 
finger is bent forward; the make-believe taking its 
place between the first and third fingers. 

Yet another form of finger for the same purpose is 
illustrated in Fig. 121. It is a triangular tin box, 
about three and one half inches in. length and three 
quarters of an inch in depth. 1 The side a is rounded, 
and modelled in imitation of the back of a finger. The 
remaining two edges are square. At the smaller end is 

1 The precise dimensions may be a shade greater or less, to suit 
the hand of the performer. The wire may bent into the shape 
found most convenient. 


212 


Later Magic 


a spring clip d y whereby the fake, when in use, is 
attached from behind to the middle finger of the per¬ 
former, the clip embracing the lower joint of that 
finger. The only access to the interior is through the 
open space marked c. The whole is coloured so as to 
match as closely as possible the hand of the performer. 




The mode of use is not unlike that of the finger last 
described. If the fake be duly clipped on behind the 
middle finger (see A in the figure), there is of course noth¬ 
ing visible on the inside of the hand, and this may there¬ 
fore be shown freely. When the performer desires to 
show the back of the hand, he, under cover of a wave of 
the arm, tilts the middle finger forward. This brings 



213 


Later Magic 

the fake into the position shown as B (in the same 
figure), its hinder part ranging with the first and third 
fingers, and representing, to a casual view, the natural 
middle finger. 

The handkerchief to be produced is loaded into the 
fake, with one corner projecting, which corner, in use, 
is clipped between the first and second fingers. To pro¬ 
duce it, the handkerchief, beginning with this corner, 
is gradually worked forward with the forefinger till the 
whole is developed, and the handkerchief produced 
with the one hand only, as in Mr. Maurice Garland’s 
method. The fake is then removed under cover of 
the handkerchief. 

The sleight is by no means an easy one, but in good 
hands it is wonderfully effective. This mode of pro¬ 
duction is one of the specialities of Mr. Imro Fox, who 
works it with remarkable dexterity. 

An equally ingenious and less bulky appliance of 
Messrs. Hamley’s for the same purpose takes the form 
of a shell (of tin or thin copper), fitting on to the back 
of the extended middle finger, which it is modelled to 
resemble. For the greater part of its length its edges 
are only turned down to the extent of one third of an 
inch, but at the centre of each side they are made 
somewhat broader, so as to clip the middle joint of the 
natural finger. The fake is of course coloured to match 
the hand. With it is used a very small silk handker¬ 
chief. This at the outset is laid along the shell, and 
the latter clipped on to the finger. The hand may 
then be shown freely, back and front, with the fingers 
slightly apart, thereby proving, to any one who may 
know the older method, that no extra finger is used. 


214 


Later Magic 


This done, under cover of a slight movement of the arm, 
the performer bends the fingers and gets the fake inside 
the hand, when the handkerchief may be gradually 
pushed out with the thumb, and thus produced with the 
one hand only. 

THE FALSE THUMB. 

An appliance of Hartz’s for handkerchief production 
(invented, by the way, long before the false fingers came 
into use) was a sort of thimble, made of very thin 
copper, and arranged to fit over the end of the thumb, 
which it was modelled and coloured to resemble exactly. 
In some particulars this appliance is even better than 
the false finger. Being shorter and wider than the 
latter, the introduction or extraction of the handker¬ 
chief becomes proportionately easier. Further, small 
as is the fear of the presence of the extra finger being 
noticed, a little extra length of the thumb is still less 
likely to attract attention. 

History is said to repeat itself, and it often happens 
that an ingenious contrivance is independently re-in¬ 
vented at some later period. Messrs. Hamley have a 
special “finger,” for vanishing a handkerchief, which 
exactly follows the principle of the Hartz “thumb”; 
being intended to fit over the forefinger. It is only an 
inch and three quarters in length, being in fact designed 
to represent the two upper joints of the finger. It is 
made of flesh-coloured celluloid, polished inside, but 
rough on the outside. 

Its object is to cause the disappearance of a single 
handkerchief. The performer appears with the false 
finger covering the right forefinger, and the handkerchief 
thrown over it. In the course of his remarks as to the 


Later Magic 


2I 5 


volatile nature of this particular kind of handkerchief, 
he gets the false finger into the left hand, lying across 
the palm, with the opening towards the thumb. Clos¬ 
ing the left hand, he begins openly to poke the handker¬ 
chief with the right forefinger into that hand, as shown 
in Fig. 122; in reality into the hollow finger. When it is 
fairly “ home,” the forefinger is brought away with the 
false finger upon it, the left hand being simultaneously 
opened and shown empty. If the hand is kept gently 
moving, the fake is, under such conditions, absolutely 



invisible. From considerations of space, the handker¬ 
chief must be small and of specially thin material. 

It is a good plan to have the finger, at the outset, 
thumb-palmed, after the manner of the thimble in the 
Flying Thimble Trick. (See post.) It can then be in¬ 
stantly transferred, when needed, to the finger-tip. 

This appliance can, of course, be used for production 
as well as for disappearance, but it is scarcely so well 
adapted for the former use. 

THE FINGER SHELL AND FALSE PALM. 

Another appliance for handkerchief production is the 
4 4 finger shell” (see Fig. 123), an oval piece of tin or thin 





Later Magic 


216 



Fig.123. 


brass about two inches long by one and a quarter wide, 
painted flesh-colour, and having its longer sides bent 
slightly inwards. If the fingers are some¬ 
what flexed, this may be laid against the 
lower joints of the middle finger, on the 
inside, without attracting any notice. Be¬ 
tween this and the finger lies the handker¬ 
chief, folded accordingly, to be produced 
when wanted. 

A couple of very thin wires are some¬ 
times soldered across the concave side of 
the fake, about an inch apart, and no doubt help 
to keep the handkerchief in position. On the other 
hand they prevent the fake going so well “home.” 

Some performers have the shell adapted to the fork 
of the thumb, instead of to the finger. 

Yet another method is to have a false palm, also of 
metal, and flesh-coloured, with a clip on either side to 
hold it to the hand. The handkerchiefs (one or more) 
lie between this and the real palm. It is possible that 
this plan may have some recommendations, but it 
strikes me as one of those “improved” methods which 
are best avoided. 


THE RUBBER BAND. 


The following little known method, the invention of 
Mr. Carl Posse, has the merit of special simplicity, and, 
neatly worked, is decidedly effective. The only ap¬ 
paratus consists of a thin band of red rubber, passed 
over the second and third fingers of the performer. The 
handkerchief is folded as small as possible, and placed 
in such manner that the portion of the elastic inside the 
hand shall lie just within the final fold. The handker- 


217 


Later Magic 

chi pushed between the fingers to the back of 

the turally drawing a portion of the rubber 

ring with h. The inside of the hand may now be shown 
empty. In turning the hand over to show the back, 
which is done with a quick flourish, the fingers are 
spread apart and again closed, but in the momentary 
interval the tension of the rubber has brought the 
handkerchief back into the hand, to be produced at 
pleasure. 

A little powdered French chalk, judiciously applied, 
will tone the colour of the rubber down to that of the 
performer’s hand, and make it practically invisible. 

PRODUCTION FROM BEND OF ELBOW. 

A very simple expedient, adopted with good effect 
by Buatier de Kolta, was to place the handkerchief, 
neatly folded, within the bend of the left elbow. On 
coming forward, he drew up his sleeves and bared his 
arms, incidentally showing the hands empty. The 
right sleeve was first drawn up, and then the left, the 
act of drawing up the latter bringing the handkerchief 
quite naturally into the right hand. 

PRODUCTION FROM THE TROUSER-LEG. 

This mode of production has been already noticed in 
connection with the magician’s dress (see page 6), as 
also the production of a single handkerchief from the 
coat collar. Either of these methods lends itself ex¬ 
tremely well to the “multiplication” of handkerchiefs, 
a second, of the same colour, being drawn out under 
cover of the first. 


2 18 


Later Magic 


THE HAND-BOX. 

This appliance, described in its original form in 
Modern Magic (page 263), and in an improved shape 
in More Magic (p. 213), has undergone yet further 
improvements. It is still usually made in the shape 
of a miniature boot-heel; some patterns, however, have 
rounded edges, like the case of a watch. The opening 
may either be at the side or in the centre. The wax 
used by Buatier de Kolta to make the box adhere to 
the back of the hand is now usually dispensed with, 
and replaced by a loop of fine wire or gut. The 
thumb or forefinger, as the performer may find most 
convenient, being passed through this loop, the box 
can be brought to the back or front of the hand at 
pleasure. 

At the outset, the appliance is at the back of the 
hand, so that the palm can be shown empty. In 
bringing the hands together, it is swung over to the 
front, and, when the handkerchiefs have been pro¬ 
duced, is returned to its original resting-place. 

Another description of hand-box takes the form of a 
short tin tube, about two inches long, oval in section, 
and having at the centre of each side a couple of pro¬ 
jecting tongues, also of tin, soldered together at the 
base, but bent slightly outward at 
their free ends, as in Fig. 124. 
These are intended to be clipped 
between the second and third fin¬ 
gers, and so to maintain the ap¬ 
paratus at the back of the hand. 
By means of the second pair of clips, it may be trans¬ 
ferred to the back of the opposite hand, being brought 



Fig. 124. 



Later Magic 


219 


into the palm when the performer desires to produce 
the handkerchief. 


THE CACHE. 1 


The appliance which usually goes by this name is a 
little bag of stout leather, not unlike the familiar 
Portsea purse, but open at the top, without flaps. It 
has a loop of gut or wire, after the fashion of the im¬ 
proved hand-box, on each side, so that by insertion of 
the appropriate thumb it may be transferred from hand 
to hand. It is sometimes attached to a pull, but its 


CL 



Fig. 125. 


shape is unsuitable for this purpose. In this particular 
nothing can be better than the tapering tin or wooden 
cup used by Buatier de Kolta and described in More 
Magic , pp. 209, 210. 

A rubber ball, with a piece cut out of the side, is 
sometimes used instead of the purse. 2 Some, again, 
while adhering to the purse shape, use flesh-coloured 
silk, in place of leather, for the material. 

A third alternative is to use a flesh-coloured ball of 

1 This name is applied by German conjurers to the Buatier 
hand-box, secured to the hand by an adhesive. 

2 See post, in connection with the description of Mr. Stillwell’s 
Handkerchief Act. 



2 20 


Later Magic 


celluloid or thin brass, one and one half or one and 
three quarter inches in diameter, with a hole in its side, 
and suspended by a loop as already mentioned. Here, 
by the way, I must not omit to mention a new and 
especially ingenious form of ball for this purpose, the 
invention of Mr. John Hamley. (See Fig. 125.) It is 
about one and three quarter inches in diameter, with 
two holes, a, b, three quarters of an inch in diameter, on 
opposite sides of it. The intervening space is divided 



horizontally by a partition (as shown by the dotted 
line) into two compartments of unequal size, the one 
being about twice as deep as the other. The ball 
is of celluloid, enamelled flesh-colour, smooth within, 
but on the outside left rough, that it may be the more 
easily palmed, no loop being in this case employed. 

This ball may be used either to produce, change, or 
vanish a handkerchief. Its special feature is the 
hole b, opening into the larger compartment. The 
shallower compartment is intended for the reception 



Later Magic 


221 


of one or more handkerchiefs. The larger may also 
contain a handkerchief, but its primary intention is 
that it shall accommodate the tip of the forefinger 
or thumb, when, with a little address, the performer 
may show both hands, back and front, apparently 
empty, though he has the ball literally at the tips of 
his fingers, masked by the one or the other hand 
in front of it. See, for example, Fig. 126, in which 
the ball rests, as shown by the dotted lines, on the tip 
of the right thumb. Having thus shown the palms, 
the performer has but to cross the hands slightly in the 



act of turning them down, working the ball round the 
left thumb, and he may then show the backs as in Fig. 
127, the ball being now hidden behind the left palm. 

The above is but one of may “passes” which may be 
exhibited with this ingenious ball, which is manipu¬ 
lated by the inventor with special dexterity. 1 It goes 
without saying that the finger-tip expedient is a power 
in reserve, so to speak, the ball being for the most part 
palmed in the ordinary way. 

1 Mr. Hamley himself prefers to work the ball on the forefinger. 



222 


Later Magic 


At this point I may pause to anticipate a very 
natural inquiry of the reader, bewildered by the multi¬ 
plicity of appliances for the same purpose. “ Which of 
all these is the best ?” In this connection I may recall 
an often quoted couplet of Pope: 

“ For forms of government let fools contest, 
Whate’er is best administered is best. ” 

In like manner, the method which a conjurer finds he 
can work most satisfactorily is, for him, the best , though 
there may be half a dozen “novelties” of later date for 
the same purpose. In point of effect , by all means seek 
after novelty, but in regard to artificial aids, it is by 
no means a certainty that the later appliance, however 
ingenious, will fulfil its purpose any better than, or 
even as well as, the good old fake, whose use custom 
has made second nature. Do not therefore jump at 
a “latest novelty”; but test it very carefully before 
abandoning an old one in its favour. 

PRODUCTION FROM THE WAND. 

This has been already discussed, in connection with 
the description of special wands for various purposes. 

PRODUCTION FROM A MATCH-BOX. 

For this clever little expedient the conjurer is once 
more indebted to the inventive genius of Buatier de 
Kolta. The sliding portion of an ordinary match-box is 
pushed out to the extent of, say, half an inch, and in the 
space thereby left vacant at the opposite end a handker¬ 
chief is packed. The performer, under pretext of light¬ 
ing a candle, takes a match out of the box, which he 


Later Magic 


223 


holds with the open end away from him. Having ob¬ 
tained the match he closes the box; the act of doing 
so squeezing out the handkerchief into his hand, to be 
produced according to his fancy. 

THE “monarch” HANDKERCHIEF PRODUCER. 

The appliance to which this name has been given 
is depicted at a, in Fig. 128. Two little semicircular 
horseshoes of metal are soldered together back to back, 
and from the point of juncture projects a straight slip of 
metal, at the further end of which is a loop of fine wire. 
The whole is enamelled flesh-colour. The ‘ ‘ fake ’ * is held 



in the hand, as shown in the figure, between the second 
and third fingers, the two forks keeping all secure. 
Packed tightly within the wire loop is a small silk hand¬ 
kerchief. The handkerchief, thus disposed, may be 
passed between the fingers to the back of the hand, and 
then to the front again, with great ease. 

After proving the hands empty in this way, the 
handkerchief is in due course worked out of the loop 
and produced. By reversing the process, the fake 
may be used for vanishing a handkerchief, at the 
pleasure of the performer, but it is not so well adapted 
for this purpose. 







224 


Later Magic 


CLIPS FOR HANDKERCHIEFS. 

Clips, for the purpose of holding one or more hand¬ 
kerchiefs, are now and then very useful, and may be of 
the simplest possible construction. A strip of zinc or 
thin copper, three inches long and one wide, bent in 
half and having a small hole punched through it near 
each edge of the folded portion, will answer the purpose 
excellently. Through the holes are passed, from the 
outside, the ends of a short piece of thin cord. These 
being then knotted together, the cord forms a loop of 
convenient size for suspending the clip to a hook sewn 
to the waistband of the performer’s trousers, in front 
under the vest. A handkerchief, folded to a conven¬ 
ient size, 1 is placed in the clip, the two sides of which 
are then pinched together with finger and thumb till it 
is securely held. Thus loaded, the clip is suspended as 
above, when the handkerchief will be instantly get-at- 
able. 

In another variety of clip the loop is replaced by a 
ring of fine black wire, unpolished, one and one quarter 
inches in circumference; and the clip and handkerchief 
are bestowed either just inside the opening of the vest, 
or in a pocket, opening vertically, on the right side of 
the vest, about level with the armpit; the ring remain¬ 
ing outside, and being so turned as to project at some- 

1 There is considerable art in folding a handkerchief for magical 
production, the desideratum being that it shall pack closely, and yet 
unfold spontaneously and rapidly. To ensure this a good plan is to 
fold it backwards and forwards in accordion-pleats one and one 
half inches in width, and when the whole length is thus taken up, to 
fold the strip thus made in like manner. A handkerchief thus 
dealt with, on being released, unfolds instantly. 


225 


Later Magic 

thing like a right angle. The performer, after baring 
his arms and showing his hands empty, as further evi¬ 
dence of “no preparation” draws apart the lapels of 
his coat and shows his breast. The position of the 
hands in doing this enables him to pass the thumb of 
the right hand into the ring, and so to draw the clip 
into the palm. After producing the handkerchief the 
clip is thrown over to the back of the hand, and both 
hands are left apparently empty. 

For this mode of production, however, a clip is not 
really necessary, and indeed is better dispensed with, 
the wire alone being all that is needed. Take a piece 
of fine wire eight inches long; cross the ends so that the 
central part shall form a circle about one and one 
quarter inch in circumference. Twist the wire twice 
where the ends cross. Place the folded handkerchief in 
the external angle thus formed, cross the extreme ends of 
the wire around it and draw them tight, finishing off by 
twisting them two or three times. Cut off any surplus 
wire close to the twist and place the handkerchief thus 
secured inside the vest as above described, the loop first 
made projecting from it. When the handkerchief is 
once in the hand, suspended from the thumb, the wire 
is broken, and the handkerchief is free. 

A NOVEL METHOD OF PRODUCTION. 

Last, but not least, I may mention a very ingenious 
method of production, for the knowledge of which I am 
indebted to Professor De Vere, already mentioned. 

By the aid of a needle pass a piece of black thread, 
about eig -hes long, with a knot at one end, 

through t )f the performer on the inside, just 


226 


Later Magic 


at the bend of the elbow. Removing the needle, attach 
the free end of the thread to the head of a pin. Roll a 
silk handkerchief into as small a compass as possible, 
and fasten off the last comer by thrusting the pin 
through it. Then, using the pin as a cleat, wind the 
slack of the thread round and round between the pin 
and the handkerchief, till just so much of it is left as to 
allow you to tuck the little parcel inside the breast of 
the waistcoat, on the left side. Properly adjusted, the 
thread will not at all interfere with the use of the arms. 

When it is desired to produce the handkerchief, the 
performer bares his arms, and in the act of showing his 
hands empty twists the right thumb under the thread, 
and extends the arms. This movement draws the little 
packet into the right hand, the thread unrolling as it 
goes. The pin is then removed, and the handkerchief 
expands to its original dimensions. 

Section II. 

THE MULTIPLICATION OF HANDKERCHIEFS. 

This is, of course, only another form of production, 
but there are one or two methods which are better 
adapted to cause the appearance of a second or third 
handkerchief than for the production of the first one. 
These I proceed briefly to notice. 

FROM THE SLEEVE. 

To one comer of each of two handkerchiefs, of same 
colour, attach a loop, six inches long, of flesh-coloured 
silk. Pass one of these over the second finger of each 
hand, and work the handkerchief down on the inside of 


Later Magic 


227 


the arm, within the shirt-sleeve. Having produced, 
by one or other of the methods already described, a 
handkerchief of similar appearance, take it by one 
corner between the forefinger and thumb of the right 
hand, and draw it slowly through the left, from below 
upwards. Repeat the process, but this time pass the 
second finger of the right hand within the loop, when 
the concealed handkerchief will be drawn out, side by 
side with the other. Shake out, and show as two. 
Now draw both handkerchiefs through the opposite 
hand, bringing the third with them. Again shake out, 
and show that the two have become three. 

The silk thread forming the loop should be merely 
passed through the corner of the handkerchief, so that 
when the silk is broken, it may come away “ all clear.’’ 

CONRADl’s MULTIPLYING TUBE. 




This (see Fig. 129) is a glass tube, of the lamp- 
chimney order, divided into two compart¬ 
ments, a and b , longitudinally, by two slips of 
looking-glass cemented together, back to back. 

Round each end of the tube is a band of brass 
or white metal; and between these bands, at 
equal distances, are four upright strips of the 
same material. Two of these coincide in posi¬ 
tion with the edges of the mirror partition. 

The other two occupy positions midway be¬ 
tween these, each exactly facing the medial 
line of one of the mirrors, and being reflected 
therein. The effect, to the eye of a spectator, 
is that he sees right through the tube; the reflection of 
the forward strip being taken for the hinder strip, 


Fig. 129. 






228 Later Magic 

which is in reality hidden from him by the mirror 
between. 

To prepare the tube for use, one of the compartments 
is packed with silk handkerchiefs (all of one colour); of 
which half a dozen or more can be inserted without 
difficulty. In this condition, with the loaded compart¬ 
ment to the rear, the tube may stand on the performer’s 
table, or be brought forward held horizontally between 
his hands, apparently empty. In the course of his 
“patter,” he places in the empty compartment a single 
handkerchief of the same colour as those to be produced, 
spreading it well in the tube, so as to occupy as much 
space as possible. The tube may now be shown on 
either side, for both look alike. The performer turns 
the side with the single handkerchief to the rear, and 
produces, first, two or three handkerchiefs in succession 
from the front compartment; then the single one from 
the rear compartment, and finally the remainder from 
the front. 

As the reader will doubtless perceive, the above order 
is adopted because, if the production of the single hand¬ 
kerchief were left to the last, it would have to be pro¬ 
duced from an apparently empty tube. The performer 
may, however, by way of variety, produce it in this 
manner. He should in such cases blow upon the (sup¬ 
posed) empty tube, at the same moment giving it a half- 
turn, thereby bringing the single handkerchief to the 
front, after which it may be produced in the usual way. 

I may here take the opportunity to mention a little 
appliance of my own devising, which I have found ex¬ 
tremely convenient for producing two or three hand¬ 
kerchiefs in rapid succession. It consists of a piece of 


Later Magic 229 

tin, two and a quarter inches square, shaped as a, Fig. 
13°, and bent over vertically until it forms a three- 
quarter tube, as b in the same figure. This, enamelled 
flesh-colour, and loaded with three or more silk handker¬ 
chiefs, is palmed in the right hand; the upper indenta¬ 
tion resting against the top joint of the middle finger, 
and the lower on the root of the same finger. The 
handkerchiefs are now pushed upwards in succes¬ 
sion with the thumb, and appear at the tips of the 
fingers. 


cu & 



It should be noted that this, besides being much 
larger, reverses the arrangement of the “finger shell”; 
inasmuch as it is palmed, and used, with the opening 
outward. 


BLACK, RED, AND WHITE. 

The effect of this capital trick, for which I am in¬ 
debted to the magical serial Die Zauberwelt, is as fol¬ 
lows : 

The performer shows his hands, back and palm, prov¬ 
ing them entirely empty. Bringing them together, 
and making a rubbing movement, he produces from 













230 


Later Magic 


between them a black silk handkerchief. This again 
being rubbed between the palms, a red handkerchief 
is produced. The two are now rubbed between his 
hands, and a white handkerchief is seen to be added 
to their number, after which all three are made to dis¬ 
appear one by one in like manner. 1 

The only apparatus needful consists of the three 
handkerchiefs themselves, but these are prepared in a 
special manner. The white handkerchief (see Fig. 131) 
has in one comer a triangular pocket a, made of the 
same material as the handkerchief itself. In point of 



size this pocket is just large enough to accommodate the 
second handkerchief, viz., the red one (which is without 
preparation). The black handkerchief has two such 
pockets, one placed as a in the figure; the other, a trifle 
larger, at the opposite corner, b. 

The handkerchiefs are prepared for use by packing 
the red handkerchief into the pocket of the white one. 
This is then folded up tightly, and stowed into the 
smaller pocket of the black handkerchief. This in turn 
is tolled up, beginning with the comer a, and tucked 

1 It will be remembered that black, red, and white are the German 
national colours. 




Later Magic 


231 


into its remaining pocket at b. In this condition it 
forms a small cone. To the apex of this cone is at¬ 
tached a loop of horsehair, large enough to admit the 
passage of the thumb. The cone is stuck on a pin, 
inserted point upwards under the right lapel of the 
performer’s coat, with the hair loop projecting a little 
beyond the edge of the lapel. 

Thus prepared, the performer advances, wand in 
hand. Placing this for a moment under the right arm, 
he shows the hands empty. Again he takes the wand 
in his hand, and in doing so, deftly slips the thumb of 
the right hand within the horsehair loop, and with a 
slight upward movement lifts the little parcel off the 
pin, when it lies suspended against his palm. Laying 
the wand on the table, and standing so that the back 
of the right hand shall be towards the spectators, he 
rubs the hands together, and, under cover of the rub¬ 
bing movement, gradually works the black handker¬ 
chief out of the pocket and spreads it out; holding it 
with the pocket side away from the spectators, the 
pocket which is still full being masked by the hand 
which holds it. Under cover of this handkerchief he 
presently produces the white handkerchief, and a mo¬ 
ment later the red handkerchief. 

To conclude the trick, the handkerchiefs are in due 
order again worked into their respective pockets, and 
the finally resulting parcel is vested, or dropped upon 
a servante. 

A bit of very fine wire may, if preferred, be substi¬ 
tuted for the horsehair. In consequence of its greater 
stiffness, it will be found to retain the circular shape 
better, and so to render the introduction of the thumb 
more easy. 


232 


Later Magic 


HANDKERCHIEF MULTIPLICATION ON A LARGER SCALE. 

The ease with which a handkerchief can be produced, 
apparently from nowhere, and the really magical effect 
of such production, if neatly executed, have induced 
some performers to enlarge upon the idea, producing 
not one or two handkerchiefs only, but a score, or even 
a larger number. 

The first handkerchief, produced by one or other of 
the methods already described, is drawn through the 
left hand, when the one handkerchief becomes two. 
The operation being repeated, the two become three; 
the three become four; and so on. When the per¬ 
former finds his hands getting fuller than is convenient, 
he lays all but one of the handkerchiefs on a table, or 
across the back of a chair, and begins again; continuing 
in like manner till all the available chairs and tables are 
draped with silk of various colours. 

This surprising effect is usually produced by the aid 
of one of the hollow balls already referred to. This 
may be of celluloid, aluminium, or thin brass, about 
one and three quarter inches in diameter; and should 
have a hole in its side of about three quarters of an 
inch. A ball of the above dimensions will hold, closely 
packed, about half a dozen fine silk handkerchiefs of 
the size usually affected by conjurers (twelve to four¬ 
teen inches square), but by the use of a very simple 
artifice, it may be made available, so far as the eye of 
the spectator is concerned, to produce just double that 
number. The plan adopted in this case is to cut each 
square in half diagonally from comer to corner, hem¬ 
ming the raw edge. A half-handkerchief of this kind, 
held up by either of the two divided corners, and 


Later Magic 


233 


allowed to hang straight down, will so drape itself as to 
represent, to casual observation, a complete handker¬ 
chief, and count accordingly. 

The method adopted for packing the handkerchiefs 
into the ball is as follows. The first is pushed in pretty 
much anyhow, until it comes to the last corner. This is 
folded back three quarters of an inch. The first corner 
of the handkerchief next to be inserted is then folded in 
like manner, and the one hooked, so to speak, into the 
other. The second handkerchief is then worked into 
the ball, care being taken not to disturb the above- 
mentioned arrangement; and the last corner of this is 
then linked in like manner with the first corner of the 
next handkerchief, and so on till the ball is full. The 
final comer of the last handkerchief is allowed to pro¬ 
ject about half an inch. 

One method of production is as follows: The ball, 
loaded as above, is vested. The performer produces a 
single handkerchief in any manner he pleases, and while 
calling attention to this, held in the right hand, gets 
the loaded ball into the left, where it is palmed, with 
the opening outwards. Holding the visible handker¬ 
chief by one corner between the right forefinger and 
thumb, he throws it over the back of the left hand, 
and draws it downwards through the hand. As the 
finger and thumb pass the palm of the left hand, he 
catches hold with them of the corner left projecting 
from the ball, and so draws out the handkerchief last 
inserted therein. This is drawn down with the original 
handkerchief through the half-closed left hand, and the 
two are then exhibited, professedly as the first trans¬ 
formed into two. The interlacing of the corners, as 
above described, has the effect of drawing the first 


234 


Later Magic 


corner of the second handkerchief a little way out of 
the ball, in readiness for the next production, and so 
the effect is repeated till the ball is empty. 1 

The more artistic method of working, however, is that 
adopted by Mr. Stillwell, whose Handkerchief Act, a 
speciality of his own, has met with great success. 2 

In this case the operator, after getting the ball into 
his hands and showing by the familiar “change over” 
pass that both are empty, leaves it finally palmed in the 
right hand. With this hand he makes a grab in the 
air, and professedly “ catches ” a handkerchief, which, 
however, remains invisible till it is transferred, still 
invisibly, to the left hand, when it at once “material¬ 
izes.” This effect is produced by the thumb and finger 
of the left hand nipping the projecting comer of the 
handkerchief as the hands come together, and, as they 
separate, drawing it out of the ball. The remaining 
handkerchiefs are “caught” one after another in like 
manner, not becoming visible till they are placed in the 
left hand. 

Here, by the way, I must not omit to notice one very 
elegant little sleight, on which the effect of the trick 

1 Some performers sew the ends of the handkerchiefs lightly to¬ 
gether with very fine silk, which is broken in the act of production. 
This is unnecessary. The interlacing of the corners, if carefully 
done, is not only less troublesome, but more reliable. 

2 Mr. Stillwell has drawn up an elaborate explanation of the 
above act, which is well worth the attention of every sleight-of-hand 
conjurer. The copyright of the pamphlet, which costs two shillings, 
has been acquired by Messrs. Hamley Brothers. 

I may here mention that Mr. Stillwell uses rubber balls, instead 
of celluloid. The complete act involves the use of five such balls, 
of different sizes and descriptions. These also may be obtained of 
Messrs. Hamley. 


Later Magic 


235 


largely depends. Its object is to convince the specta¬ 
tors that the hands, save for the handkerchiefs already 
produced, are throughout entirely empty. 

The first handkerchief, we will suppose, has been pro¬ 
duced by the aid of the hollow ball as above mentioned. 
It is then taken by one comer between the first and 
second fingers of the performer’s left hand, as shown in 
Fig. 132, the palm being towards the spectators. The 



right hand is now brought up to the left, and transfers 
the ball from the palm of the former to that of the latter. 
The moment the ball reaches the left hand, this is 
turned over towards the body (as shown by the dotted 
arrow) and the right hand strokes down the handker¬ 
chief, the two hands assuming the position shown in 
Fig. 133. The ball is at this stage palmed in the left 
hand. 

The right hand is now left empty, and is carelessly 




236 


Later Magic 


shown to be so. The performer then brings it once 
more up to the left hand. So soon as this latter is 
masked by the right it is turned over outwards as 
shown by the dotted arrow in Fig. 134. The moment 
the hands come together, the ball is again palmed in 
the right hand. The left hand continues its outward 
revolution, the handkerchief passing over the tips of 
the fingers, and hanging from the back of the hand, 





Fig. 135. 


Fig. 134. 


as in Fig. 135. The right hand strokes down the hand¬ 
kerchief as before. Nothing happens this time; but on a 
second stroke-down another handkerchief is drawn out 
from the ball with the forefinger and thumb of the left 
hand. This is placed side by side with the handker¬ 
chief already produced, and the above manoeuvres 
repeated, the impression left on the mind of the specta¬ 
tor being that he has been repeatedly allowed to see 
both palms empty simultaneously, though as a matter 






Later Magic 237 

of fact he has never seen more than one at a time, the 
ball being concealed in the other. 

By having half a dozen balls, duly loaded and dis¬ 
tributed in various places, the performer may amplify 
the trick to any extent he pleases. He may even carry 
two or three balls under his vest, but where more than 
one are bestowed in this manner, they should be sup¬ 
ported by wire “ clips,” after the manner of those fa¬ 
miliar in connection with egg tricks, save that in this 
case the rings which hold the ball are both of the same 
size. 1 A truly artistic performer, however, would 
scarcely get two balls in immediate succession from the 
same quarter; but would vary his procedure as much 
as possible. Thus, a second ball may rest on a servante 
behind the chair on which he places the handkerchiefs 
already produced; when, in the act of throwing them 
over the back, he will have ample opportunity to ex¬ 
change the ball just emptied for a full one. When this 
has done its duty, it may be dropped into the profonde, 
or laid upon the table simultaneously with a further 
pile of handkerchiefs, while another is procured from a 
pochette, and so on. 

It is a good plan to vary the “production” by now 
and then exhibiting with the handkerchief just pro¬ 
duced some little feat or sleight, say the ‘ ‘ colour change’ ’ 
described at page 258, or the instantaneous knot, of 
which an example is given in More Magic (page 203); 
“the handkerchief that cannot be tied in a knot”; 
or “the vanishing knots ” (.Modern Magic , pages 237- 
238). In the case of the latter, the trick being here 

1 Clips of the kind above referred to (see p. 81) are largely used 
in connection with various ball tricks. 


238 


Later Magic 


introduced as a mere passing flourish, the performer 
should himself tie the knot. It is not worth while to 
delay the performance by asking a spectator to do so. 

Another effect that is frequently introduced is the 
simultaneous production of a given number of handker¬ 
chiefs. The spectators are asked to name a number,— 
“not too large,”—the performer remarks,—“say any¬ 
thing from five to ten. ” We will suppose that the num¬ 
ber named is seven (a very frequent choice, by the way). 
While the number is being decided upon, the performer 
palms, from under the vest or elsewhere, a roll of hand¬ 
kerchiefs of various colours, which he presently de¬ 
velops by rolling between his hands, and, counting 
them one by one, shows that there are the precise 
number demanded. 

To enable the performer to do this, five handkerchiefs, 
each cut in half from corner to corner, are required. 
The halves are then lightly basted together with silk 
thread of the same colour. The thread is not fastened off 
at either end, so that the halves may be pulled apart 
again without difficulty. If five handkerchiefs are de¬ 
manded, the performer shows each in its joined con¬ 
dition. For each extra handkerchief required, he pulls 
one of them in half, and shows each half, hanging down, 
as an independent handkerchief. The five thus become 
any number up to ten, at pleasure. 

To produce a final effect the performer may have 
twenty or thirty handkerchiefs, packed close and se¬ 
cured by a silk thread or rubber band, inside the front 
of his vest, with a projecting loop for their readier ex¬ 
traction. This packet is drawn into the hands under 
cover of rubbing together half a dozen of the handker- 


Later Magic 


239 


chiefs already produced, which are forthwith found to 
have multiplied five-fold. The quantity may be fur¬ 
ther multiplied by having other packets in convenient 
spots, as the arrangements of the stage permit. 

The trick may be brought to an effective finish in 
another way, as follows. When he has got half-way 
through the trick, the performer says: “I really don’t 
know what to do with all these handkerchiefs. Will 
somebody lend me a hat to put them in ? ” A hat being 
procured, he places it on the table, loading into it, in 
transit (say from under the left arm), a special packet 
of handkerchiefs, made up as follows: First, a piece of 
silk a yard or more square, is rolled up as closely as 
possible; round it another piece not quite so large; 
round that again another, a little smaller; the last, 
or outer handkerchief, being eighteen inches square. 
These are kept all snug by a pin. The performer trans¬ 
fers the handkerchiefs already produced to the hat, 
and then proceeds to produce others, which he adds to 
their number; finishing up with a score or so at once, 
as last described. Gazing seriously into the hat, he 
says: “I don’t know what you think, ladies and gentle¬ 
men, but it seems to me that this is getting monotonous. 
And, unless I am much mistaken, the handkerchiefs are 
getting bigger, as well as more numerous. ’ ’ So saying, he 
dips his hand into the hat, withdraws the pin from the 
roll, and taking the outer handkerchief by one corner, 
draws it slowly up till it comes away from the rest, and 
exhibits it. Dropping it back into the hat, he produces 
the next in like manner, and so on to the largest, 
which he spreads out before him. “Yes, ladies and 
gentlemen, I must stop. That’s the worst of magic. 


240 


Later Magic 


When you once set the spirits to work, you never know 
quite where they will leave off. I have had this same 
sort of thing happen before, and when my wife was 
going to send the things to the wash, there was n’t a 
handkerchief smaller than a table-cloth in the house. 

So, with your permission, we will pass to the next 
item of the performance.” 

By way of variation, the following method of pro¬ 
ducing the first handkerchief may be used. 

The handkerchief is prepared by first starching one 
of its extreme corners, twisting the starched portion 
into a “ tag” half an inch long, and letting it dry. This 
done, the handkerchief is laid fiat, and its three other 
corners folded to the centre. The sides are next folded 
down longitudinally, and this is repeated till the hand¬ 
kerchief becomes a mere strip, an inch and a half wide. 
The strip thus made is rolled up tightly, beginning 
from the folded end. When the opposite end is 
reached, the roll is finished off by gumming a bit of thin 
paper, of the same colour as the handkerchief, across 
the starched corner just below the little tag, which is 
allowed to project about three quarters of an inch be¬ 
yond it. 

The roll thus made is palmed in the left hand. The 
performer’s first step is to show his hands empty by 
means of the “change over” palm. To conclude, he 
shows first the backs, the hands being held horizontally 
in front of him, the left a little in advance of the right. 
They are instantly turned outwards and the palms 
shown, but during that first moment the handkerchief 
has been transferred to the back of the right hand, the 
little tag being clipped between the second and third 


Later Magic 


241 


fingers. If it is properly placed, and the gummed paper 
has been correctly adjusted (both of these are points 
to be got right by practice), the mere act of bending 
the fingers smartly will suffice to tear or detach the 
paper, and if a catching movement is made at the same 
moment, the handkerchief will at once expand to its 
normal dimensions, the effect to the audience being 
that it is really “caught” in the hand. 

The starching of the corner of the handkerchief, as 
the reader will doubtless have surmised, is to make it 
more easily got hold of. As an alternative, the comer 
may be simply drawn together with a needle and 
thread till it assumes the desired shape, but the starch¬ 
ing gives it greater solidity. Gum or paste may be 
used in place of starch, if the latter is not obtainable. 

Section III. 

COLOUR-CHANGING TRICKS. 

The reader may be interested to know that this very 
popular form of illusion originated in a chance remark 
made some twelve years ago by Mr. G. W. Hunter to 
Mr. David Devant, that it would be a pretty effect to 
pass a handkerchief in at one end of a paper tube, and 
bring it out, of some different colour, at the other. Mr. 
Devant was struck with the idea, and within a week 
exhibited the trick for the first time, in a comparatively 
crude form, at the Royal Music Hall, London, where 
he was then performing. He had even then so far 
improved upon Mr. Hunter’s suggestion as to colour 
hree handkerchiefs instead of one, but over a year 
lapsed before he had worked up the trick, in combina- 
ion with other handkerchief effects, to the complete 


242 


Later Magic 


and artistic form in which he now presents it. The 
hint once given, however, there were speedily a dozen 
Richards in the field, each presenting his own version. 
Many of them are extremely ingenious, and leave little 
to be desired in point of effect, though personally I 
have seen none to equal the absolute perfection of Mr. 
Devant’s method. Of this the reader will be enabled to 
judge for himself, inasmuch as it will be found described 
in full in the section devoted to “Miscellaneous Hand¬ 
kerchief Tricks.” 

Meanwhile I proceed to describe the different com¬ 
peting methods of producing this particular illusion. 

VARIOUS METHODS OF COLOUR-CHANGING. 

The Conradi multiplying tube, described at page 227, 
may equally well be used for changing the colour of 
a handkerchief. The one compartment is beforehand 
loaded with, say, a red handkerchief, and this side kept 
to the rear. The performer, showing a blue one, in¬ 
troduces it into the vacant compartment, and holds 
the tube horizontally between his hands, breast high. 
“ Change,” he says, and as he speaks, lowers the hands 
sharply about ten inches, immediately bringing them 
back to their former position. Under cover of this 
movement a half-turn is given to the tube, and the red 
handkerchief brought to the front. 

The little apparatus described at page 220 of More 
Magic in connection with a “multiplication” trick is 
likewise available for colour-changing, but the pattern 
there indicated may be improved upon by making the 
tube somewhat barrel-shaped, as in Fig. 136, this form 


Later Magic 


243 


lending itself better to the ultimate retreat of the 
apparatus up the sleeve. 

The pull may, if preferred, be dispensed with; in 
which case the wire fork will likewise be unnecessary. 
In its place a loop of flesh-coloured silk or fine gut will be 
attached to the little barrel, and passed over the fore¬ 
finger so that it may be brought to the front or the back 
of the hand at pleasure. The apparatus may at the 
outset be loaded with three handkerchiefs of different 
colours. A fourth handkerchief, first spread out, and 



Fig. 136. 


then crumpled together, is pushed in at one end of the 
fake; pushing out the one at the opposite end, and this 
may be repeated till three “changes” have been 
effected. This done, the handkerchief last produced 
is thrown over the tube, which may then be got rid of 
without difficulty. 

Closely akin to the above is a little piece of apparatus, 
the invention, I believe, of Professor Ellis Stanyon. It 
consists of a tube of thin brass, two inches long and one 
inch in diameter, along the side of which is soldered a 
piece of wire with its ends turned up at right angles, as 


244 


Later Magic 



Fig. 137. The space between the projecting portions is 
one and one half inches, and their length half an inch. 

Crossing the centre of the tube, on 
the inside, is fixed a piece of tape 
two and three quarter inches in 
length. The slack, or central por¬ 
tion, of this may be pushed to either 
end of the tube at pleasure, form¬ 
ing a sort of makeshift bottom, or stop, to prevent 
the contents escaping at that end. 1 

The projecting points, being clipped between the 
fingers, enable the performer to transfer the fake to the 
back of the hand, and so to show the palms empty. 


Fig. 137. 


roterberg’s colour-change. 

The following ingenious mode of colour-changing 
is the invention of Professor Roterberg, of Chicago, a 
gentleman to whom the conjuring world is indebted 
for many clever novelties. 2 

To one comer of, say, a blue silk handkerchief is 
sewn, by its longer sides only, a strip of the same ma¬ 
terial, two and one half inches long by one and one half 
wide, forming, when thus attached, a little pocket open 
at each end, as shown in Fig. 138. Midway down this 
pocket is sewn a little silk bag of the same material, as 

1 This feature is not new, being common to many handkerchief 
tubes. A still better arrangement is to have a little circular silk 
bag, of the same diameter as the circumference of the tube, and 
half its depth, secured by its upper edges midway in the tube. 
The bottom of this bag can, like the tape, be brought to either end 
of the tube at pleasure. 

2 Messrs. G. Ornum & Co., 4 Duke Street, Charing Cross, are 
Professor Roterberg’s London representatives. 


Later Magic 245 

indicated by the dotted lines. In the hem of each of 
the openings, a, b, is sewn a ring of fine, soft wire. 

The handkerchief is prepared for use by packing it, 
through the opening b , into the little silk bag. At the 
proper time the little bundle thus formed is palmed, a 
red silk handkerchief being openly shown in the same 
hand. The hands are now brought together, and 
waved up and down; the red handkerchief being under 
cover of the movement gradually worked into the open¬ 
ing a, thereby forcing the blue handkerchief out through 
b. When it is all out, the performer gently presses the 



Fig. 138. 

two wire rings, thereby closing the little pocket, and 
shakes out the blue handkerchief, the slight bulge 
made by the pocket being masked by the fingers of the 
right hand. 

By substituting an appropriate flag for the blue 
handkerchief, and somewhat enlarging the pocket, 
three handkerchiefs,—red, white, and blue,—may be 
rubbed together (really worked into the little pocket) 
and reproduced as the Union Jack or tricolour. 

The “cache” described at page 219 may by a little 
modification be adapted for colour-changing. For a 








246 


Later Magic 


double change, say, white to red and red to blue, it 
should be made with three compartments, lying one 
upon the other. Two of these are loaded with red and 
blue handkerchiefs respectively, while the third is 
empty. The handkerchief to be changed is worked 
into the empty division, at the same time the one to be 
produced is worked out of one of the others. 

marcellin’s colour-change. 

This change, the invention of a German conjurer, is 
worked on a totally different principle. A blue hand¬ 
kerchief, say, is rolled round the centre of the perform¬ 
er’s wand. The operator rubs it between his hands, 
and it forthwith changes to a red one. 

Such is the effect of the trick. To work it, the per¬ 
former must be provided with a wand of polished black 
wood, and a couple of tubes, two inches in length, 
fitting easily over it. These may either be of thin 
brass, or of rolled paper of sufficient stiffness, in either 
case japanned black, so as to correspond in appearance 
with the wand, under which conditions their presence 
upon it is, at a few feet distance, not noticeable. 

Round one of these tubes a red silk handkerchief is 
tightly rolled. Over this a little piece of blue silk (the 
same material as the second handkerchief used in the 
trick) is placed, and secured by tucking in its edges be¬ 
tween the handkerchief and the tube. In this condi¬ 
tion it is vested, or placed in a pochette. The second 
tube must be also placed so as to be easily get-at-able. 

Having shown, in a casual way, that the wand is 
without preparation, the performer gets the empty 
tube into his hand, and secretly passes it over as far as 


Later Magic 


247 


the centre. Showing the blue handkerchief, he winds 
it, apparently, round the middle of the wand, but really 
on the little tube, and makes all secure by tucking in 
the final end. Showing the wand, in a careless way, in 
the one hand, he gets the prepared tube into the other, 
and, under cover of a half-turn to right or left, passes this 
over the wand with the one hand and slides the first 
tube off with the other. This he gets rid of by bringing 
forward a chair (professedly to lay the wand upon), and 
in the act of doing so drops the tube into a bag servante 
behind it. Placing the wand (which, to the eye of the 
spectator, still has the blue handkerchief round it) on 
the seat of the chair, he explains that these blue silk 
handkerchiefs are very bashful, and that if you look at 
them much they will blush, just like a young girl. In 
fact, he declares that the handkerchief is turning red 
already. The spectators naturally fail to perceive any 
alteration, so after a little more “patter” he takes the 
wand in his hands to hasten the process. Rubbing the 
handkerchief between his hands, he removes the blue 
silk covering, which he rolls up small and tucks between 
the second and third fingers. He then unrolls the hand¬ 
kerchief, which has now turned to red, and in the act 
of laying it over the back of the chair gets rid of the 
tube and the little bit of blue silk, into the servante. 

•COLOUR-CHANGING BY THE AID OF A PAPER TUBE. 

The great majority of colour-changing tricks, how¬ 
ever, follow the line originated by Mr. David Devant, 
viz., to show a piece of thin cardboard or stiff cartridge- 
paper ; and after forming this, in view of the audience, 
into a hollow cylinder, to pass a handkerchief in at one 


248 


Later Magic 


end of the tube, and, pushing it through, to produce it 
at the other end a different colour. Of this main idea, 
there are many variations in detail, both as to working 
and as to precise effect. I will commence with the 
simplest method, designed to change a single hand¬ 
kerchief. 

The requirements are two silk handkerchiefs, one red 
and one white, a small piece, say five inches by eight, 
of stout drawing-paper, gummed along one of its 
shorter edges, and a little tube of sheet brass, one and 
one half inch long and one inch in diameter, 1 with 
the edges turned in very slightly all round. This is 
loaded with, say, the red handkerchief, and laid on 
the performer’s table; the white handkerchief lying, as 
if thrown carelessly down, in a heap over it. If the 
performer uses a chair servante, the tube may be laid 
on this, and the handkerchief thrown over the back of 
the chair. 

With regard to the introduction of the tube within 
the paper cylinder, there are two alternatives. One 
method is to make the cylinder first, and afterwards 
introduce the tube; the other to pick up tube and paper 
together and form the cylinder round the tube. 

If the first plan is adopted, it is important that the 
cylinder should be exactly the right size. This is 
secured by rolling the paper experimentally beforehand, 
and making a pencil-mark showing exactly where the 
outer edge of the roll should come. In exhibiting the 

1 The size of the tube will vary a little, according as one or more 
handkerchiefs are intended to be produced; and with it the size of 
the paper to form the cylinder, which should, generally speaking, 
be about three times the length of the brass tube. . The larger the 
cylinder, the stiffer must be the paper, or cardboard, of which it is 
formed. 


Later Magic 


249 


trick, the paper is rolled to the same point, and then 
secured by moistening the gummed edge with the 
tongue and pressing it down. This, however, with an 
empty cylinder is rather a troublesome process, besides 
being somewhat lacking in refinement. A better plan 
is to keep the paper tube in shape by passing over it a 
couple of rubber bands, one at each end. The cylinder 
thus formed may be handed for examination, or the 
performer may prove its emptiness by holding it aloft 
on his wand. 



The alternative plan, of forming the cylinder round 
the wand, is decidedly preferable, and in connection 
with this plan I may here digress for a moment to de¬ 
scribe a pretty little sleight which the performer will 
find very useful, after he has picked up the paper with 
the tube behind it, to convince the spectators that he 
has nothing in his hands save the piece of paper only. 
The paper is held by its upper right-hand comer be¬ 
tween the first and second fingers of the right hand, the 
tube being supported in a horizontal position behind 
its upper edge by the forefinger and thumb, as shown 
in Fig. 139. Remarking, “ I have here a piece of plain 







250 


Later Magic 


paper,” the performer takes the left-hand bottom cor¬ 
ner between the first and second fingers of the left 
hand and turns the lower edge of the paper upwards 
towards the spectators. When it has reached the posi¬ 
tion shown in Fig. 140, the left thumb and forefinger 
seize the tube. The right hand moves away, and the 
original upper edge of the paper, now become the 
lower, is released. Both sides of the paper have thus 
been shown, and the paper and tube remain in the left 



hand, the transfer from hand to hand being a sort of 
tacit guarantee of “no deception.” 

We will assume, however, for the moment that the 
first plan has been adopted, and that the paper cylin¬ 
der has been formed apart from the tube. 

The operator picks up the white handkerchief, and 
with it, secretly, the loaded tube. Holding the paper 
cylinder vertically in one hand, he throws the white 
handkerchief over its upper end, its comers hanging 
down around, and begins with his wand to press down 
its centre into the cylinder, meanwhile introducing the 
loaded tube from below. This, once inserted, is pushed 
up towards the centre of the cylinder, and there held 
fast by pressure of the hand on the outside. Mean- 





Later Magic 


251 


while, the white handkerchief, being packed in from 
above, and pressed down, forces out the red handker¬ 
chief below, the white having apparently changed to 
red. As a matter of fact, the white handkerchief has 
taken the place of the red in the little tube, which a 
little later is allowed to slide out of the cylinder into 
the hand, and is got rid of as may be found most con¬ 
venient. 

The above is, however, a very crude form of the 
trick. A great improvement is to have the brass tube 
fitted midway with a little silk bag of half its length, 
the bottom of which can be brought to either end of the 
tube at pleasure, and so made to close that end. 1 This, 
loaded with, the red handkerchief, is introduced into 
the cylinder with the open end downwards. When, a 
little later, the white handkerchief is put in at the top 
of the cylinder and rammed down with the wand, it 
squeezes out the red handkerchief, and takes its place 
in the tube, but cannot go too far, being stopped by the 
silken bag. Under these conditions the packing of the 
white handkerchief fairly within the tube is a matter of 
much greater certainty, and the tube is more easily got 
rid of afterwards. 

A further improvement is to load the little tube with 
two handkerchiefs, first a red and then a white one. 
The visible white handkerchief being then put in at the 
top of the cylinder, and pushed down, a white one 
makes its appearance at the bottom; being to the eye 
of the spectator the same handkerchief, merely pushed 
through. The natural inference is that the cylinder is 
empty. The handkerchief thus produced is then put- 
in at the top, pushed down, and forthwith reappears, 
1 See note on p. 244. 


252 


Later Magic 


as a red one, at the bottom, the two white handker¬ 
chiefs remaining in the tube. 

Starting with the same root-idea, Herr Willmann 
has evolved a very highly finished and artistic version 
of the trick. I cannot do better than borrow his own 
description 1 in a slightly altered form. 

willmann’s colour-change. 

The requirements for the trick are as under: 

1. Four white handkerchiefs. 

2. One blue handkerchief. 

3. One yellow “ 

4. One red “ 

5. A servante consisting of two cup-hooks (as de¬ 
scribed at page 23), attached to the back of a chair. 

6. A piece of very thin cardboard or stout cartridge- 
paper, measuring 7 by 8 inches, gummed along one of its 
shorter edges. 

The red handkerchief (see Fig. 141) is in reality two 
handkerchiefs sewn together at the edges. Between 
them, midway in one of the sides, a tube, a, of thin brass, 
is stitched by means of three or four minute holes in its 
upper end, in such manner that that end shall come 
just level with the edge of the double handkerchief, and 
so shall, when the handkerchief is spread out, be in¬ 
visible. The presence of the tube naturally creates a 
hiatus between the two handkerchiefs at the centre. 
This is filled up by a gusset, b d c, of the same material. 
In the centre of this is a hole, d , encircled by a rubber 
band, which allows of its being expanded to nearly the 

1 Die Zauberwelt. Vol. vi., pp. 43, 56. 



253 


Later Magic 

circumference of the tube, but normally contracts it 
to a very small size, so as to be scarcely noticeable. 
Round the other three sides of the square b e f c } 
the two handkerchiefs are sewn together, the interven¬ 
ing space forming an internal pocket, only accessible 
through the tube a, which is open at the bottom. 

To prepare the handkerchief for use it is folded first 
vertically in half, at the point where the tube is fixed. 
Beginning from the folded edge, the handkerchief is 



then rolled up, with the tube in the centre. Grasping 
the tube end with the right hand, the operator tucks 
the lower portion of the handkerchief into the tube 
from the bottom , pushing it in as far as it will go. This 
leaves a portion of the tube still unoccupied, and into 
this vacant space he packs, first the yellow, then the 
blue, and lastly one of the white handkerchiefs. In 
packing in the handkerchiefs it will be found de¬ 
sirable to start with one corner, so that the opposite 
corner shall be the last portion to be inserted, and 
















254 


Later Magic 


consequently the first to be squeezed out at a later 
stage of the trick. Each should be got well home 
before another is introduced. 

The double handkerchief thus prepared, and forming 
now a compact roll only a trifle larger than the tube 
itself, is made to rest on the two hooks behind the chair. 

The above arrangements duly made beforehand, the 
conjurer advances to the company, bringing forward 
the piece of cardboard and the three remaining white 
handkerchiefs. Placing the latter upon the seat of the 
chair, he calls attention to the piece of cardboard, and 
beginning from one of its shorter sides, rolls it into a 
cylinder, then allowing it to expand again. The card¬ 
board naturally retains a certain amount of curve, and 
taking advantage of this, he places it over the back of 
the chair, where it rests comfortably, half in front, the 
other half behind, just over the prepared handkerchief. 

Showing his; hands empty, he again picks up, with 
the right hand, the bent cardboard, and with it the con¬ 
cealed roll. Again he rolls the cardboard into a cylin¬ 
der, gradually making it smaller and smaller till it fits 
tightly over the roll, this latter resting with its upper 
end (the one with the hole d) within half an inch of one 
end of the cylinder. When matters have reached this 
point, he moistens the gummed edge of the cardboard 
with his tongue, and holds it down till there is no fear 
of its again unrolling. 

Then, grasping the cylinder with the left hand (the 
end with the tube uppermost), he takes one of the white 
handkerchiefs, and pushes it down, first with the 
fingers and then with the wand, apparently into the 
empty cylinder, but in reality through the hole d, and 
into the tube. As the tube is already full, something 


Later Magic 


2 55 


must give way to make room for it, and this something 
is naturally the white handkerchief which was the last 
to be packed into the opposite end of the tube, and 
which now begins to appear at the lower end of the 
cylinder. To the eyes of the spectators this handker¬ 
chief is the same they have just seen introduced at the 
top, and they are thereby convinced (if indeed they 
entertained any doubt on the subject) that the cylinder 
is empty. The operator must of course take care that 
the handkerchief shall not fall out at the bottom before 
the one at the top has completely disappeared, or the 
inference would be in the contrary direction. 

Taking the white handkerchief just produced, he now 
passes this in through the hole d , remarking that he is 
going to change its colour and turn it blue. Accord¬ 
ingly the blue handkerchief, which comes next in order 
in the tube, appears at the bottom of the cylinder. 
Laying this on the seat of the chair, he takes another 
of the white handkerchiefs, presses it in at the top, and 
produces it (apparently) at the bottom, yellow. Throw¬ 
ing the yellow handkerchief on the chair-seat, he takes 
the remaining white handkerchief, and pushes this like¬ 
wise through d. This forces out that portion of the 
red handkerchief which was packed into the tube, and 
which now appears at the bottom of the cylinder. 

This is a critical part of the trick, for the white 
handkerchief is naturally introduced at the top in an 
“anyhow” fashion, whereas the red one would, if per¬ 
mitted, come out at the bottom rolled up, which fact, if 
observed, w'ould tend to create a doubt as to their being, 
as the conjurer professes, the same. To avoid this, as 
soon as the white handkerchief is fairly within d, and 
the red handkerchief pushed down to within half an 


256 


Later Magic 


inch or so of the bottom of the cylinder, the performer 
changes his procedure. Inserting a finger at the top 
of the cylinder, he gets hold of one of the upper corners 
of the handkerchief and holds it securely against the 
inner surface of the cylinder. Inserting the forefinger 
of the other hand, he now tears the cylinder open, and 
as it falls, getting hold of the opposite top corner of the 
handkerchief (the two lie, as will be remembered, one 
upon the other) he draws them apart; spreads the 
handkerchief; shakes it out, and then catches it by the 
centre, taking care that the hidden tube shall hang on 
the side remote from the spectators. Picking up the 
blue and yellow handkerchiefs, he transfers them to 
the same hand, then laying all three on the table, and 
proceeding to some other trick. 

The trick is not an easy one, and demands a very 
considerable amount of study and practice before it 
can safely be exhibited. There are many little details, 
such as the exact degree of compression with which 
the handkerchiefs should be packed, which can only be 
ascertained by repeated experiment. But in skilful 
hands the trick produces a complete illusion, and it is 
well worth the amount of trouble necessary to bring it 
to perfection. 

A SIX-FOLD COLOUR-CHANGE. 

The requirements for this form of the trick (which 
also is Herr Willmann’s) 1 consist of a couple of metal 
bands, say seven inches in length by one in width, each 
slightly curved longitudinally and having at equal dis¬ 
tances on its convex side three spring clips, and on the 

1 Die Zauberwelt. Vol. vi., p. 170. 


257 


Later Magi 

concave side a couple of little ho( enough to 

penetrate clothing. In each of 1 is placed a 

handkerchief (all of the same s f different 

colours) folded as small as possibl By ;.:ans of the 
little hooks these two bands are attached to the upper 
part of the performer’s trousers, one on each side, just 
underneath the vest, in such manner that the handker¬ 
chiefs shall be out of sight, but instantly get-at-able. 1 
The colours should be of the most every-day kind, and 
arranged in the clips in a regular order, always adhered 
to, say (beginning from the left): i, black; 2, red; 3, 
green; 4, blue; 5, yellow; 6, brown. 

The performer advances, holding a white handker¬ 
chief in his hand, and asks some one to name a colour. 
“ Red,” we will suppose, is the reply. Now red, as the 
performer knows, is No. 2, on his left side. While 
calling attention to the white handkerchief in his right 
hand, he makes a half-turn to the left, and while that 
side of his body is thus turned away from the audience 
he gets the red handkerchief into his left hand. Under 
pretence of rubbing the hands together he gradually 
folds up the white handkerchief; and when this is done 
shakes out the red one, getting rid of the white one, as 
may be most convenient, into the profonde or other¬ 
wise. 

If one of the colours on the right side is called for, he 
takes the visible handkerchief in the left hand, and 
makes the half-turn to the right, so that that side of his 
body may be screened from view. The performer may 

1 The clips might equally well be fixed on a belt of leather or 
webbing (due provision being made that it shall not shift from its 
position) and this would seem in some respects to be the preferable 
arrangement. 

17 


258 


Later Magic 


bring the trick to a neat finish by “ vanishing,” in any 
way he pleases, the handkerchief last shown. 

Herr Willmann’s description seems to contemplate 
that all six colours shall be produced in succession, but 
to do this would be to sin against one of the cardinal 
precepts of conjuring, i. e., to avoid repeating the 
same trick in the same way. The performer would 
be better advised, in my own opinion, to retain the six¬ 
fold provision of handkerchiefs, but to produce not 
more than two of them. Having in these instances 
shown his ability to produce the colours the spectators 
ask for, it is reasonable to suppose that he could have 
produced any others, and the trick gains nothing by 
repetition. Further, there is scarcely enough in it to 
make it worth presenting alone, but introduced as an 
addendum to some more important handkerchief trick, 
it would form a really good item, both gaining by the 
combination. 

TO CHANGE THE COLOUR OF A HANDKERCHIEF BY 
MERELY DRAWING IT THROUGH THE HAND. 

Several attempts have been made at obtaining this 
very pretty effect, but with comparatively small suc¬ 
cess, until the production by Messrs. Hamley of the 
little piece of apparatus I am about to describe, a 
marked improvement on all previous attempts in the 
same direction. It consists of a cup-shaped metal shell, 
as shown in Fig. 142, enamelled flesh-colour; open at 
top to its full extent, but having a somewhat narrower 
opening (a a) at bottom. Two thirds of the way down, 
it is divided in two by a horizontal partition b b. A 
little above this it is traversed by a spindle c c , on one 


2 59 


Later Magic 

end of which, outside the cup, is fixed a little pulley- 
wheel, d. On this wheel is coiled a piece of black 
thread, a trifle longer than the diagonal length of the 
handkerchief to be used. Below the wheel is a little 
bracket e, and the thread passes downwards through a 
hole, /, in this bracket, the pressure of a tiny spring 
preventing its unwinding spontaneously or too freely. 
On the free end of the thread is a knot, g, and in the 
centre of the spindle is fixed a little hook, h, consisting 
of the point of a needle slightly curved. A portion of 
the metal cup is cut away on one side, as shown in the 



Fig. 142. 


diagram, to enable the performer, when occasion re¬ 
quires, to get at this little point without difficulty. 

Assuming that a red handkerchief is to be changed to 
a blue one, the latter is loaded into the fake through 
the opening a a, a bit of one corner being left projecting. 
The thread is wound up on the wheel until only half an 
inch or so hangs down below the bottom of the fake. 
When the performer desires to show the trick, he palms 
this in the left hand, with the opening a a downwards, 
and the little wheel on the side next the fingers. Ex¬ 
hibiting the red handkerchief, he hitches one comer of 







26 o 


Later Magic 


it on to the little hook, allowing the remainder to hang 
down over the back of his hand, which is towards the 
spectators. To all appearances, he has merely tucked 
the corner of the handkerchief in between the fore¬ 
finger and thumb. With the forefinger and thumb of 
the right hand he nips the projecting corner of the blue 
handkerchief, and at the same time the knot on the 
thread, and draws both slowly down together. As the 
blue handkerchief is drawn out of a a the red handker¬ 
chief is wound up on the little spindle, apparently 
changing into a blue one. 

When the performer has once made a fair start, he 
should make a partial half-turn to the left, so as to 
bring both handkerchiefs into view, otherwise the blue 
handkerchief does not become visible until the first 
half of the red one has been wound up, and the trick 
loses a considerable portion of its effect. 

THE BRASS TUBE, WITH SLIDING CUP, FOR COLOUR¬ 
CHANGING TRICKS. 

This (see Fig. 143) is a tube of thin brass, a b, about 
two and one half inches in length by one and a quarter 
in diameter, open at each end, but with the edges 
turned in to the extent of one sixteenth of an inch. 
Within this is a smaller tube, not quite an inch deep, 
open at top, but closed at bottom, and so forming a 
cylindrical cup. This fits the outer tube accurately, 
sliding up and down it, and so can be shifted to either 
end at pleasure, but cannot be removed from it, by 
reason of the turned-in edges of the tube. 

This little appliance may be utilized for various 
colour-changing tricks. To take the simplest possible 


26 i 


Later Magic 

example: the lower end b of the tube is beforehand 
loaded with, say, a red handkerchief. In packing it in, 
the operator commences with the centre, and then tucks 
in the comers, one after another. This not only pre¬ 
cludes the possibility of a stray comer getting between 
the inner and outer tubes, and so causing a “jam,” but 
also ensures a more rapid and complete 
unfolding of the handkerchief when it is 
produced in the course of the trick. The 
handkerchief, thus compressed into as 
small a space as possible, should lie just 
above the bottom of the tube, with the 
cup c pressed gently down upon it. 

The tube, thus prepared, is palmed by 
the performer. Calling attention to a 
piece of thin white cardboard about five 
inches by seven, gummed along one of its 
shorter sides, and showing that it is otherwise free 
from preparation, he forms it into a tube, which he 
finishes off by moistening the gummed edge. In so 
doing, however, he secretly rolls up the brass tube 
within it. He makes the paper cylinder of such a 
size that by pressing on it he can retain the tube at 
any given point, though it will slide out as soon as the 
pressure is relaxed. 

Holding the cylinder so that the end a of the tube 
shall be uppermost, he takes a handkerchief of some 
other colour, say blue, and introduces this at the upper 
end (packing it in after the fashion already described), 
and pushes it down with his wand. When it is fairly 
packed into c, he presses it down still farther. This 
forces c to the bottom of the tube, and in so doing 
drives out the red handkerchief at the bottom of the 


a 



^ . 

0 



tr 

Fig. 143. 





262 


Later Magic 


cylinder. To the eye of the spectator the blue hand¬ 
kerchief has changed into a red one. 

By reversing the cylinder, and pushing in the red 
handkerchief at what then becomes the upper end, it 
may be made apparently to change once more to blue. 
This done, the performer lets the tube slide quietly out 
of the paper cylinder on to the servante, or elsewhere 
out of sight, after which the cylinder may be freely left 
in the way of inspection, without any fear of its telling 
tales. 

The above is, however, but a crude and amateurish 
mode of using the apparatus. By way of further illus¬ 
tration I cannot do better than quote the description 
of a trick arranged by Herr Willmann, in which it 
is employed much more effectively. The “patter” af¬ 
fords an amusing illustration of “ourselves as others 
see us,” and in particular of the light in which our 
German friends regard our salubrious Metropolitan 
Railway. 1 

The requirements for the trick are as under: 

1. The tube, with sliding-cup, as above described. 

2. Nine silk handkerchiefs. Two white, four grey 
(or black), one light red, and two dark red. 

3. A piece of soft cardboard, seven by five and one 
half inches, gummed along one of its shorter edges. 

4. A glass tumbler, preferably with a foot. 

5. The magic wand. 

The tube is prepared as follows: The cup is pushed, 
mouth foremost, as far as it will go, towards one end 
of it. The space underneath the cup is loaded with, 
first the dark red handkerchief, next a grey one, and 

1 Die Zauberwelt. Vol. iii., p. 118. 


Later Magic 


263 


then another grey one. The cup is then pushed back 
again till the lowermost handkerchief comes flush with 
the end of the tube. The cup itself is left empty. 

The second dark red handkerchief and the two other 
grey ones are tied together, corner to corner, the red 
one being in the middle. The tying is done with the 
reef knot, which, as every conjurer knows, is convertible 
in a moment into a slip-knot, by the simple expedient 
of pulling one of the two joined ends into a straight 
line with the handkerchief of which it forms a portion. 
The three handkerchiefs thus connected are laid one 
upon another, and the corners turned in and in till a 
compact little parcel is the result. This, secured by a 
rubber band, is tucked under the left side of the per¬ 
former’s vest. The loaded tube is concealed under his 
left arm, outside the coat. 

The remaining articles, viz., two white and one light 
red handkerchief, the piece of cardboard, the tumbler, 
and the wand, are placed on the performer’s table, be¬ 
hind which he takes up his position, and, carelessly 
showing his hands empty, begins his oration as follows: 

“When I last visited London I was staying with a 
friend in the suburbs, and to get into the City of a morn¬ 
ing I had to travel for over half an hour. My friend, 
who used to start for his business at an earlier hour 
than I did, looked at me when I came into his counting- 
house somewhat later, wondering what had happened 
to me. He told me that I really must not sit down to 
dinner until I had put on cleaner linen. I was a little 
offended, for I always put on a clean shirt every day, 
but on examining my garments more closely I came 
to the conclusion that my friend was quite right. At 
first, I laid the blame on the continued London fog 


264 


Later Magic 


and the soot which is always falling there in such large 
quantities, but the next morning the matter was fully 
explained. I travelled, on that day, with another 
friend who was also paying a visit to my host, by the 
Underground Railway from High Barnet to the City, 
and was struck with admiration at the whiteness of his 
linen, which really almost dazzled me. But when we 
got out at Moorgate Street Station, and looked at each 
other, we at once decided that the underground journey 
was responsible for our altered appearance, and that 
it was the pervading smokiness that had robbed our 
linen of its whiteness. From that day forward we 
never travelled that way without turning up our coat 
collars. 

“ ‘There is a chance for you,’ remarked my friend, 
for whose amusement I had the evening before been 
showing a few feats of magic in the family circle. ‘ That 
would be a really good trick, to conjure your linen white 
again!’ My powers did not go quite so far as that, 
but I thought the matter over, and prepared for our 
next social evening a little experiment, wherein I illus¬ 
trated the effects of a journey through a tunnel. With 
your permission, I will repeat the experiment in your 
presence, that you may see for yourselves the very 
serious consequences of such a journey. 

“As unfortunately I cannot have the pleasure of 
making the journey with you personally, I will en¬ 
deavour to represent it, as closely as I can. I have here, 
as you see, a simple piece of cardboard, quite unpre¬ 
pared, save that it has a streak of gum along one of its 
edges.’’ 

Here the performer takes the piece of cardboard in 
his left hand. With the right hand he picks up the 


Later Magic 265 

wand from the table, and draws it with an air of mys¬ 
tery across each side of the cardboard, then tucks it 
under his left arm, under cover of these manipulations 
getting into the right hand, and palming, the loaded 
tube. In the act of forming the cardboard into a 
cylinder he rolls up the tube inside it, not so tightly, 
however, as to prevent the tube moving freely from 
end to end therein. He then moistens with his tongue 
the gummed edge of the cardboard, and presses it down 
afterwards, holding the cylinder supported between his 
fingers at each end. 

“Before your own eyes I have made this piece of 
cardboard into a tube, which is intended to represent 
the tunnel. We have n’t a railway train handy, so we 
must make the journey in another way, and as the 
tunnel I have made is too small to admit my friends 
and myself in bodily shape, you will not mind if I 
send our pocket-handkerchiefs through instead to 
represent us. With your permission, I will be the first 
to enter the tunnel.” 

During this harangue he makes sure that that end 
of the metal tube into which the handkerchiefs were 
loaded is pointing downwards, and is flush with the 
lower end of the paper cylinder. Holding them to¬ 
gether with a steady grip, he takes one of the white 
handkerchiefs, and with the aid of his wand introduces 
it into the upper end of the cylinder, pushing it down 
so far that it is worked completely into the cup c. 
Under the continued pressure the cup is forced farther 
and farther down the tube, and in due time the first of 
the two grey handkerchiefs appears at the lower end 
of the paper cylinder, and is drawn out altogether by 
the performer. 


266 


Later Magic 


“The journey has been but a short one, and soon 
over, but even so short a journey has sufficed, you see, 
to spoil the pure whiteness of the handkerchief. Now, 
my friend, who always wears a white shirt, sets out on 
his journey” (here he pushes the second white handker¬ 
chief in at the top of the cylinder, and produces the 
second grey one from the bottom), “and reappears at 
the other end of the tunnel, of quite a different colour. 
And here comes my other friend, who being our host, 
and a very polite man, has allowed us to precede him. 
He is very bashful, you must know; my few words of 
compliment have brought blushes into his cheeks; in 
fact he has turned quite red. But he starts on his 
journey” (he loads in the light red handkerchief at 
top and draws out the dark red at bottom), “and as you 
see, his naturally rosy complexion is sadly darkened 
when he has completed it.” 

The performer hereupon hands the handkerchief last 
produced to one of the spectators, after which he allows 
the metal tube (in which are now the two white and 
the light red handkerchiefs) to slide out of the cylinder 
into his right hand, and thence drops it, as opportunity 
serves, into a profonde or upon a servante. The paper 
cylinder he lays upon the table, in such manner that 
the spectators can see through it. He then spreads 
the two grey handkerchiefs one upon the other, and 
taking back the red handkerchief from the holder, lays 
it upon these, and folds all three together into a little 
roll, round which he places an india-rubber ring. 
While exhibiting this in the right hand, he gets from 
under the vest into the left hand the corresponding 
little packet. It is an easy matter to substitute the 
one for the other, after which he gets rid of the roll 


267 


Later Magic 

last made (the three separate handkerchiefs) into a 
pocket or into the opening of his vest, dropping the 
other openly into the glass on the table. 1 This he then 
hands to one of the spectators, and continues: 

“After each of us had transacted his business in the 
City, we usually started together towards evening on 
the return journey, and to enable you to judge how 
very close was the bond of friendship between us, I 
have placed the handkerchiefs which represent us in this 
glass, which we will imagine to be a saloon carriage on 
the Underground Railway. By this time their journey 
is over. The train has reached High Barnet Station, 
and I will ask you, sir” (the holder of the glass), “ to 
lend them a helping hand in getting out of the carriage. 
Will you have the kindness to take the handkerchiefs 
out of the glass, to take off the rubber band, and 
spread them out?” 

He takes back the glass, and afterwards the three 
joined handkerchiefs, shows them at full length, and 
proceeds: “You seldom find so firm a friendship as 
this, a friendship which no earthly power can destroy. 
I alone, as one of the brotherhood, have the power to 
dissolve the bond that unites us, without, however, dis¬ 
turbing our friendship. A word from me will suffice to 
convince the friends that to flaunt their attachment in 
this way before so many spectators is scarcely becom¬ 
ing, and you will see, ladies and gentlemen, that 
they have a due regard for propriety. We will put the 

1 The following will be found an easy way of making the change. 
Transfer the roll held in.the right hand to the left, and thence drop 
it (in reality the duplicates) into the glass. Pick up the glass with 
the left hand, and transfer it to the right, after which, all eyes being 
drawn to this, you will have ample opportunity to get rid of the 
concealed roll into the profonde. 


268 


Later Magic 


handkerchiefs into the glass once more, and, when we 
now take them out again, you will find that they are 
all separate!” 

Which is on examination found to be the case. As 
the reader has doubtless anticipated, the performer has 
in the course of his patter, and while handling the 
handkerchiefs, in nautical phrase, “unshipped” the 
knots, in other words, he has pulled one end of each 
knot into a straight line with the handkerchief to which 
it belongs. The knot now becomes a slip-knot, and 
may be pushed off with finger and thumb in the act of 
putting the handkerchief into the glass. 

Section IV. 

METHODS OF “VANISHING” A HANDKERCHIEF. 

Many of the appliances already described for the pro¬ 
duction of a handkerchief are equally available, as will 
readily be seen, for “vanishing” also. But there are 
other methods and appliances specially adapted for the 
latter purpose, and a few of these I proceed to describe. 

THE RUBBER RING. 

This is an extremely pretty and ingenious method of 
vanishing a handkerchief, and, seen for the first time, 
will puzzle even an expert. 

The performer folds the handkerchief into the small¬ 
est possible dimensions. To keep it from unfolding, he 
encircles it with an ordinary red rubber ring, which he 
takes from his vest pocket. Baring his arms to the 
elbow, he takes the little packet between his hands. 
“Presto!” It is gone. Again he brings the hands 


Later Magic 


269 


together, and the little parcel reappears. It is at once 
handed to one of the spectators, but the closest ex¬ 
amination does not reveal anything to account for its 
faculty of dematerialization. 

The secret lies in the fact that through the rubber 
ring a bit of flesh-coloured silk thread, about three 
inches in length, has been passed, and the ends joined. 
It is an easy matter, under cover of settling the 
handkerchief comfortably within the ring, to pass the 
fore-finger of one or the other hand through the loop 
thus formed. The sleeves are then pulled up and the 
hands brought together. A slight upward movement 
tilts the little parcel to the back of the hand. When 
the performer desires it to reappear, he has only to 
tilt it to the front of the hand again. He then passes 
the thumb inside the loop, breaks the thread, and lets 
it fall to the ground, after which the parcel will, of 
course, stand any amount of examination. 

If the performer possesses a reasonable amount of 
address, he will be able to show both back and front of 
the hands “all clear” two or three times before the re¬ 
appearance of the handkerchief, the little parcel being 
each time transferred to the side remote from the 
audience. 


A NEW HANDKERCHIEF VANISHER. 

This is another of the improvements on the old 
“hand-box,” described in Modern Magic (page 263). 
Like its prototype, it is of tin, but much smaller and 
lighter. In shape (see Fig. 144) it is a hollow cylinder, 
one and three quarter inches in diameter by three 
quarters in depth, with a segment removed from one of 


Later Magic 


270 


its sides, leaving an opening a. The “clip” which formed 
part of the original hand-box is wanting, but on each 
face, at the side farthest from the opening, is soldered a 
portion of a needle bent into a little hook, b. The 
handkerchief to be got rid of is worked into the van- 
isher in the same manner as was done with the hand- 
box. 

The special merit of this form of the appliance lies 
in the little hooks, by means of which the vanisher may 
not only be attached to the hand, but may also be 
hitched on to the back of a chair, a hanging table- 
cover, or any portion of the performer’s garments. 



Fig. 144. 


Fig. 145. 


The object of having a hook on each side is to avoid 
the necessity of turning it round before fixing it in 
any new position. 

The ingenious American, Mr. Roterberg, has im¬ 
proved upon the pattern above described in one or 
two particulars. In the case of his “vanisher,” the 
flat sides project a sixteenth of an inch or so beyond the 
curved portion, the resulting edge all round giving a 
capital grip for palming, and the metal on each side of 
the mouth is continued in an outward curve for three 
eighths of an inch, as in Fig. 145, forming a sort of lip, 
for a purpose which will presently appear. 





Later Magic 


271 


The following is an effective series of “ passes.” The 
fake at starting is hooked on the hinder part of the 
performer’s left trouser-leg. A handkerchief is taken, 
rolled between the hands, vanished (actually palmed 
in the right), and reproduced from behind the right 
knee. 1 Meanwhile the left arm is dropped to the side 
and secures the fake. The hands are now brought to¬ 
gether and the handkerchief worked into the box. A 
feint is made of transferring the handkerchief to the 
left hand, which is closed, as though containing it. 
The right hand then draws up the left sleeve, and in so 
doing hooks the box thereto, just inside the bend of 
the elbow. 

The handkerchief supposed to be in the left hand is 
next rubbed away, and both hands are shown empty. 

The movement of drawing back the sleeves is now 
repeated, and the fake again palmed in the right hand, 
with the mouth directed towards the root of the fore¬ 
finger. The performer now makes a grab at the air, 
and with the thumb and forefinger works a small por¬ 
tion of the handkerchief into view; then, with a con¬ 
tinuous up-and-down movement of the hand, works out 
the remainder. Just as the whole comes into view, 
and the hand has reached the lowest point of its move¬ 
ment, the fake is left hooked behind the right trouser- 
leg, and the handkerchief is brought up alone. After 
showing that the hands are otherwise empty, the 
operator begins to roll it between them again, palms it, 
and produces it from behind the right knee, in so doing 
regaining possession of the fake. 

1 The sewing of a small block of rubber into one corner of the 
handkerchief, as described at p. 278, post , will be found of material 
assistance in the performance of this part of the trick. 


2J2 


Later Magic 


Once more he works the handkerchief into this, and 
places it ostensibly in the left hand, really palming it 
in the right. While apparently rubbing it away to 
nothing in the left hand, he thrusts the second and 
third fingers of the right hand into the mouth of the 
box (the outward curve on each side facilitating this), 
brings the hands together, and shows the palms of both 
apparently empty, the fake being supported on the tips 
of the above-mentioned fingers behind the left hand, as 
shown in Fig. 146. The fake being again palmed, the 
backs of the hands can then be shown. Bringing them 



Fig. 146. 


together, the handkerchief is again produced, after 
which it may be thrown over the fake in the hand, and 
both laid on the table together; or the performer may, 
if preferred, hook the vanisher under cover of his final 
manipulations to some part of his clothing, to be got 
rid of at leisure. 

It will be observed that in both forms of the hand-box 
as above described (see Figs. 144 and 145), the little 
hook is soldered to the face on the side remote from 
the opening, and points towards it. I am inclined to 


273 


Later Magic 

think, after some amount of experiment, that its posi¬ 
tion would be better reversed; i. e., that it should be 
placed close to the mouth of the box, but pointing 
away from it. This is, however, a matter to be decided 
by the individual performer; as many other passes may 
be devised, and for some the one, and for some the 
other, arrangement may be preferable. 

ANOTHER METHOD OF USING THE VANISHER. 

The following very ingenious mode of vanishing a 
handkerchief is kindly communicated to me by a gentle¬ 
man I have more than once had occasion to mention, 
Mr. C. O. Williams, of Cardiff. 

Two pieces of apparatus are used. The one is a hand- 
box of tin, japanned black, and of the shape already 
described, but furnished with three hooks, on one side 
only. These are arranged in a triangle, two near the 
mouth, the third as in Fig. 144, the points being all 
turned towards the mouth. The other is a metal 
thimble, enamelled flesh-colour, one and one quarter 
inches in length, and of such a size as to fit comfortably 
over the first joint of the middle finger. In conjunction 
with this is used a miniature silk handkerchief, three 
inches square, corresponding in colour and texture with 
the larger handkerchief used in the trick. 

The performer comes forward, showing the handker¬ 
chief in his left hand. Behind it are concealed the 
thimble and the miniature handkerchief. 

In the right hand is palmed, hooks outward, the 
hand-box. Bringing the hands together, the per¬ 
former works the visible handkerchief into this, at the 
same time bringing into view, comerwise between the 

18 


Later Magic 


274 

forefinger and thumb of the left hand, one half of the 
miniature handkerchief, which the spectators naturally 
believe to form a part of the one they have just seen. 
At this point the performer bethinks himself that he 
ought to have pulled up his sleeves. He does so, and 
in the act of pulling up the left sleeve, hooks the hand- 
box into the under part of the sleeve, where, as soon as 
the arm drops, it is concealed. He then gradually 
works the 'miniature handkerchief out of sight, and into 
the thimble, which he then places on the middle finger 
of the right hand, and gently waving the hands about, 
shows them empty. 

The use of the hand-box is of course optional, as the 
handkerchief may equally well be vanished by some 
other method. The speciality of the trick is the use 
of the little bit of silk to induce the belief that the 
handkerchief is still in the hand, and of the “thimble” 
to get rid of this. With regard to the latter appliance, 
I was shown, some years ago, a fake for the same pur¬ 
pose but of a somewhat different pattern, the joint in¬ 
vention, if I remember rightly, of two gentlemen, Messrs. 
Weston and Carl Posse. The “thimble” in this case 
likewise fitted the middle finger, and was about one and 
one half inches long, but it had a slice taken off one side 
of it; being in fact a mere trough, with one end 
closed and duly rounded so as to fit the end of the 
finger, meeting the edge of the nail. From the back of 
the hand, therefore, the appliance, when in position, 
was invisible. Attached to the inside of it was a little 
bit of silk, corresponding to the handkerchief to be 
vanished. This was normally forced out by the action 
of a spring, but was concealed when the fake was on 
the finger. 


Later Magic 


275 


The method of working was as follows: A handker¬ 
chief is shown, rolled up, palmed, and pocketed. Mean¬ 
while, the fake is taken off the finger of the opposite 
hand, and the little bit of silk shown between the finger 
and thumb, proving apparently that the handkerchief 
is still in the hand. The bit of silk is then worked back 
into the thimble, the thimble placed upon the finger, 
and both hands shown—empty. 

THE “EAU DE COLOGNE BOTTLE” VANISHER. 

An ingenious and little-known appliance for getting 
rid of a handkerchief is a “faked” eau de Cologne 
bottle, of the familiar Jean Maria de Farina pattern. 
It will be remembered that the white label on such a 
bottle completely covers its front and two of its sides. 
To adapt it for the trick, an oblong piece about two and 
a half inches by one inch is cut out of the back, the 
upper end of the opening being about half an inch be¬ 
low the shoulder. A false bottom, which may be of 
glass, tin, or celluloid, is cemented in just above this 
point, so that the upper portion of the bottle will still 
hold a tablespoonful or so of liquid. This is filled with 
eau de Cologne, and the bottle thus prepared is placed 
on the performer’s table, with the opening turned away 
from the spectators. 

Having produced a handkerchief by some magical 
means, the performer explains, as he waves it in the air, 
that this is not a real handkerchief. It is merely 
materialized for the time being from the silk microbes 
of which there are always a few millions floating in the 
air, and unless it is very delicately handled, it will 
again revert to the original condition. In fact, so 


276 


Later Magic 


sensitive is it, that a few drops of eau de Cologne will 
suffice to dematerialize it. “No deception, ladies. 
This is just ordinary eau de Cologne. If any lady 
would like a few drops on her handkerchief she is very 
welcome.” Leaving the silk handkerchief on the table 
he comes forward, bottle in hand, and pours a few 
drops on any handkerchief that is offered; or, if no 
one offers, he pours a little on his open left hand; the 
only object of this being to convince the spectators that 
the bottle is an ordinary bottle of perfume. 

This done, he replaces the cork, and taking up his 
position at the right side of his table (as viewed by the 
spectators), puts the bottle on the table and picks up 
the handkerchief. “Sometimes,” he remarks, “I can 
dematerialize the handkerchief by mere pressure. We 
will try.” So saying, he folds up the handkerchief 
into as small a compass as possible, finally leaving it in 
the left hand and appearing to compress it with all his 
force, but on opening the hand, the handkerchief is 
seen to be still there. “No,” he says, “the influence 
is n’t strong enough. I shall have to use the eau de 
Cologne.” He picks up the bottle with the right hand, 
thence transferring it for a moment to the left hand (in 
which the handkerchief still is), so that he may have 
the right hand free to pull out the cork. This he places 
on the tableland taking the bottle in the right hand, 
pours (or makes believe to pour) a few drops of the 
spirit upon the handkerchief. 

He then returns the bottle to the left hand, while 
the right picks up and replaces the cork. This is the. 
critical part of the trick. In placing the bottle in the 
hand he gives it a half-turn, thereby bringing the open¬ 
ing towards the fingers, against which the rolled-up 


277 


Later Magic 

handkerchief is lying, and this movement brings the 
latter into the cavity. In replacing the cork another 
half-turn of the bottle is made, again bringing the open¬ 
ing to the rear, and in this condition the bottle is re¬ 
placed upon the table. 

The left hand is kept closed, as though still con¬ 
taining the handkerchief. With his own eyes fixed on 
the hand, the performer begins to move the fingers, as 
though rubbing it away. “It is going,” he remarks, 
“going, going, gone!” and opening the hand, shows it 
empty . 1 

A HANDKERCHIEF CHANGED TO A BILLIARD-BALL. 

This is both a vanish and a change, for the handker¬ 
chief disappears and a billiard-ball takes its place. 
The ball may be either of wood, celluloid, or enamelled 
metal. It is hollow, with a hole one and one quarter 
inches in diameter on one side. This being palmed, the 
handkerchief is taken into the hand and worked into 
the cavity of the ball, after the fashion of the familiar 
“ egg.” As to the manner of its introduction, however, 
I may pause to give the reader a “ wrinkle” which is by 
no means universally known, even among professional 
conjurers. 

Most performers take the handkerchief between the 
hands and work it into the egg (or ball, as the case 
may be) with the tips of the fingers or thumbs. A far 
more artistic method is as follows. Holding the egg 
in the left hand, with the opening outwards, lay the 

1 Readers of More Magic may remember that a bottle similarly 
prepared is used in the trick entitled “ Multiplication of Handker¬ 
chiefs ” (p. 218). In that case, however, the bottle is used for the 
purpose of production, for which it is equally available. 


Later Magic 


278 

handkerchief over it, the centre coming just over the 
hole, then, with the fleshy part of the palm of the right 
hand, and using a fair amount of pressure, rub the 
centre of the handkerchief against this opening with a 
circular movement. This portion of the handkerchief, 
and ultimately the four comers, will be gradually 
“screwed” into the opening. The egg is then turned 
over on to the palm of the right hand, and the trick is 
done. 

The possession of a warm, moist palm greatly facili¬ 
tates the operation. If the palm is naturally hard and 
dry, it should be moistened before attempting the ex¬ 
periment. 

As closely akin to the method above described I may 
here mention another ingenious dodge (for the know¬ 
ledge of which I am indebted to Mr. John Hamley) for 
facilitating the palming and vanishing of a small silk 
handkerchief. 

In one comer of the handkerchief is sewn a little 
piece of rubber, cut out of a flat piece about three 
eighths of an inch thick, and roughly trimmed into a 
hexagon or octagon, half an inch in diameter. When 
it is desired to vanish the handkerchief, this comer is 
placed in the centre of the left palm, and the operator 
rubs this palm with the other, using the circular move¬ 
ment above described. The effect is to roll up the 
handkerchief into a solid ball, of which the little piece 
of rubber forms a sort of core. The ball thus formed 
is much more easy to palm than one consisting of a 
handkerchief only. When the ball is formed the per¬ 
former should keep one of the outer comers snugly 
tucked in between the first and second fingers. On 


Later Magic 


279 

reproducing the handkerchief, say from below the knee, 
he retains hold of this comer and lets the handkerchief 
unroll itself; which the weight of the rubber causes it 
to do with special rapidity. 

Cork may be substituted for rubber, and will serve 
the purpose equally well as far as the palming is con¬ 
cerned, but from its greater lightness it does not cause 
the handkerchief to unroll so quickly. 

In default of a prepared handkerchief, the same effect 
may be produced, to a certain extent, by throwing an 
ordinary silk handkerchief over the left hand, with one 
comer hanging down towards the palm. The right 
hand rapidly rolls this comer into a little ball, and 
with this as a nucleus, proceeds as above described. 

Reverting to the subject of the change of the hand¬ 
kerchief into a billiard-ball, I may further note an 
ingenious device by which any one of half a dozen 
differently coloured handkerchiefs may be transformed 
into a ball of corresponding colour. The secret in this 
case lies in the use of a clear glass ball, in place of one of 
opaque material. The selected handkerchief is worked 
into the ball, which, viewed from a little distance, then 
assumes the appearance of a ball of that particular 
colour. 

THE NICKEL TUBE FOR VANISHING A HANDKERCHIEF. 

The “tube” in this case, unlike those described in con¬ 
nection with the colour-changing tricks, is openly used. 
It consists of four parts, the tube proper, a (see Fig. 
147), which is three and one quarter inches in length 
by one and three eighths inches in diameter; two caps, 
or covers, b and c, three quarters of an inch deep, one 


28 o 


Later Magic 


fitting over each end, and a cup, one and one half 
inches deep, fitting easily inside a, but having a turned- 
over edge, which prevents it passing alto¬ 
gether into the tube, and at the same time 
facilitates its removal, when desired. This 
last item is not shown to the audience. All 
four portions are of brass, nickelled and 
polished. The outside of the little cup is, 
however, sometimes left dull, and sometimes 
japanned flesh-colour or a dull black. This 
part of the apparatus is vested on the per¬ 
former’s right side. 

Taking the tube, its two covers, and the 
handkerchief, the performer hands them for 
examination to four different persons, seated 
at some distance apart. 

While the above items are being inspected, 
he gets the cup from the vest into the right hand, hold¬ 
ing it, bottom upwards, by a slight contraction of the 
fingers. He now takes back the tube, receiving it in the 
left hand, but forthwith transferring it to the right, and 
in so doing bringing it over the inverted cup. Asking 
now for one of the covers, he places it over the upper 
end, at the same moment pushing the cup home at the 
opposite end. Turning the tube the other way up, he 
takes back the handkerchief, and openly presses this 
down into the tube (really into the cup). Encircling the 
upper end of the tube for a moment with his right hand, 
he grips the lower part with the left, and moves the 
hands apart, the tube remaining in the left hand. To 
all appearances he has merely transferred the tube 
from the one hand to the other, but in reality he has 
left the cup in the right hand, grasped as before by an 



Fig. 147. 








Later Magic 


281 


encircling finger, save that it is now mouth uppermost. 
Asking for the second cover, he receives it with the 
right hand and places it on the open end of the tube. 
The presence of the cup, palmed in the right hand, will 
be found no impediment after a little practice. 

A spectator is now invited to hold the tube, pro¬ 
fessedly containing the handkerchief, and the operator 
is free to drop the cup, which actually contains it, into a 
profonde or on to a servante. The handkerchief (really 
a duplicate) is reproduced in any way the performer 
pleases, and the tube, on being opened, is found empty. 

THE NICKEL TUBE FOR VANISHING A HANDKERCHIEF- 
IMPROVED FORM. 

The special advantage of this form of the apparatus 
is that the handkerchief may be seen in the tube up to 
the very moment that it is placed in 
the hands of the spectator. ^ \ — - ^ P 

The apparatus in this case (see sec¬ 
tional view in Fig. 148) consists of five 
separate portions, viz.: two metal tubes 
of the same length (about two and a half 
inches), the one, a, fitting within the ^ 
other, b, but so loosely that it will drop 
out by its own weight, and two lids, 
c and d, each fitting the tube b. These 
are not “ caps,” as in the case of the tube 

last described, but are of the “plug” or - =1 - 1 

“stopper” kind, fitting not over, but fig. 148. 
into the tube. 

The lid c is solid, and has no speciality; but d is 
hollow, having room on its under side for a shallow 













282 


Later Magic 


cup e y within which is glued a small piece of crumpled 
silk, the same material as the handkerchief used in 
the trick. This little cup fits closely within d } and if 
pressed fully home, cannot be again removed without 
the aid of a knife and the expenditure of some time 
and trouble. When it is in place the appearance of d is 
exactly similar to that of c, and has nothing whatever 
of a suspicious character. 

To prepare for the trick, the conjurer places the 
handkerchief he proposes to use, in a carelessly rumpled 
condition, on his table, preferably raised on a book or 
cigar-box; and concealed behind it, the inner tube a. 
The outer tube, b, as also the two lids c and d, are like¬ 
wise on the table. The cup e , with its fragment of 
handkerchief, is inserted into d , but only just so far 
as to hold them together. In this condition they are 
readily separable, though to the casual observer they 
appear as one. 

The first step of the performer is to exhibit the tube 
b y which he then replaces on the table (in so doing sliding 
it gently down over a) and picks up in its place the 
handkerchief. Putting this aside, he exhibits c and d, 
which he explains to be the two “ends” of the tube. 
Into this latter he now packs the handkerchief, and 
then inserts d in the upper end of the tube, taking care, 
however, not to press it home. While doing this, he 
holds the tube over the servante, or over a pocket in the 
table (see page 89), and allows the inner tube a, con¬ 
taining the handkerchief, to slip away out of sight. 
Closing the lower end of the tube with c, he steps for¬ 
ward to hand the tube to some gentleman for safe¬ 
keeping, but, as if bethinking himself, first shows the 
company once more that the handkerchief is still in 


Later Magic 


283 


the tube. This is done by taking oft d without e. The 
spectators, seeing the small bit of silk, never doubt but 
that it is the genuine handkerchief. In again closing 
the tube, the performer presses d fully home, so that 
when it is again opened, d and e come away together, 
and the tube is found empty. 

THE NICKEL TUBE, WITH PULL. 

This is a plain nickel tube, a (see Fig. 149), about four 
inches long by one and one quarter in diameter, with 
two caps, b b, one for each end. To a casual 
view both ends of the tube are alike, but a 
minute inspection would show that the edge 
of one end, which we will call the top, is 
turned over inwards all round. The edge of 
the opposite end is left plain. 

The above is the whole of the visible ap¬ 
paratus, but there is another item, of which 
the spectators know nothing. This is a cup, 
c, of such a size at its upper and open end 
as to pass easily within a. Its opposite ex¬ 
tremity tapers to a point, to which is attached 
the end of a pull, so arranged that the cup 
shall lie till needed just within the left 
sleeve. 

The tube and caps having been handed 
for examination, separately, to three different 
persons, the performer takes back the tube, 
and in turning to his table to get the hand¬ 
kerchief, inserts the cup into its lower end, 
and pushes it home. The turned-in upper edge pre¬ 
vents it going too far. He then loads one or more 


4 - 



Fig. 149. 






284 


Later Magic 


handkerchiefs, according to the intended denouement of 
the trick, into the tube, pressing them in reality into the 
cup. Taking back one of the caps, he closes the upper 
end of the tube, and the moment he has done so turns 
it so as to lie in a straight line with his arm, and works 
the pull. The cup and handkerchiefs fly up the sleeve. 
Now taking back the second cap, he closes the other 
end of the tube, and hands it to some one for safe-keep¬ 
ing, ultimately showing that the handkerchiefs have 
disappeared, and reproducing them (actually dupli¬ 
cates) elsewhere. 

Closely akin to method of “vanishing” above de¬ 
scribed is 

THE VANISH FROM A PAPER CYLINDER. 

This, in good hands, is a very pretty and effective 
vanish. The performer is furnished with an ordinary 
sleeve-vanisher, as described in More Magic , pp. 209, 
210. Getting this down into the left hand, and having 
in the other a small piece of fairly stiff cartridge-paper, 
he forms this into a cylinder round the vanisher; and 
then, with the aid of the wand, packs into it a handker¬ 
chief (which of course passes into the latter). The mo¬ 
ment he relaxes the pressure of the hand on the paper 
cylinder, the vanisher flies up the sleeve. He blows 
through the cylinder towards the quarter where the 
handkerchief is intended to reappear, after which he 
unrolls the paper and shows it empty. 

THE “LAMP-CHIMNEY” VANISH. 

This is a more up-to-date version of the “Two Decan¬ 
ters and Flying Handkerchief” trick, described in More 


Later Magic 


285 


Magic (page 216). The main difference is the substi¬ 
tution of a glass lamp-chimney for the decanter, and a 
simple loop at the end of the pull and passed round the 
handkerchief for the “hook” there mentioned. The 
lamp-chimney, with the handkerchief thus attached 
within it, is held horizontally between the hands of the 
performer. As both hands are thus fully occupied, the 
pull must be of the self-acting kind, i. e., with the cord 
attached to the opposite wrist, and operating by the 
mere extension of the arms, or by pressure at the arm- 
pit, as in the case of the pull described at page 37. 
Some performers use for this feat the double-action 
pull, described in More Magic in connection with the 
trick of the “Vanishing Lady,” 1 but for a handker¬ 
chief of small size this is not necessary. 

A very pretty and effective mode of presenting the 
trick is to make the handkerchief “vanished” from 
one glass cylinder reappear between two other hand¬ 
kerchiefs, tied together in a second cylinder. 

The requirements for the feat, in addition to the two 
lamp-chimneys and the pull, are four handkerchiefs of 
one colour and two of another; say, red and blue re¬ 
spectively. Of these, two red and one blue are tied 
together by their corners, the blue one between the 
other two. They are then laid one upon another, and 
folded into a compact parcel, which may be kept from 
unfolding by means of a rubber band. This the per¬ 
former tucks under his vest, towards the centre. The 
remaining three handkerchiefs are thrown over the 
back of a chair, in full view. The two lamp-chimneys 
are placed on a table in the rear. On his own person, 
1 More Magic, p. 453. 


286 Later Magic 

the performer must be provided with a pull, as before 
mentioned. 

To show the trick, the operator picks up the two 
visible red handkerchiefs, and ties them together, comer 
to corner. Spreading them one upon the other on the 
seat of the chair, he makes them into a parcel as much 
like the pre-arranged one as possible, folding them, 
however, less tightly, so that the two packets may be 
apparently alike in bulk. This parcel he in like manner 
secures with a rubber band. 

Holding this in the right hand, he goes to his table 
to fetch one of the lamp-glasses; and under cover of 
the necessary turn gets the parcel of three into the left 
hand. Making believe to transfer the “ two” parcel to 
this hand, he palms it in the right hand, and shows the 
“three” instead; then picking up the lamp-glass with 
the right hand, inserts from the top the parcel thus 
shown. 1 Again turning to his table for his wand to 
push it down, he vests the palmed handkerchiefs. The 
three (supposed by the spectators to be the two) are 
pushed with the wand to the centre of the lamp- 
chimney, which is handed to a spectator, with a re¬ 
quest that he will hold it horizontally before him. 

During the few moments occupied in finding a volun¬ 
teer assistant and giving him the needful instructions, 
the conjurer gets the loop of the pull in readiness to 
receive the blue handkerchief, which, after being shown 
four-square, is drawn ropewise through the hands, 
passed within the loop, and then, crumpled up into a 
ball, is loaded into the second lamp-chimney, which the 
performer holds in like manner horizontally before him. 

J The precise method of working the change is of course optional, 
most performers having their own special fancies in this particular. 


Later Magic 


287 


Explaining that he proposes to make the handkerchief 
he holds vanish from the glass and rejoin the two held 
by the other gentleman, he takes up his position facing 
the latter, one on each side of the stage, requesting 
the assistant, at the word “three,” to elevate his arms 
quickly to the level of his face. 

The signal is given, “One, two three!” At the last 
word both raise their arms. The handkerchief held by 
the performer vanishes, drawn up his sleeve, and on ex¬ 
amination of the other two, is found, apparently, to 
have established itself firmly between them. 

A more elaborate version of this capital trick, as 
worked by Mr. David Devant, will be found in the sec¬ 
tion devoted to “Miscellaneous Handkerchief Tricks.” 

TO VANISH FOUR HANDKERCHIEFS SIMULTANEOUSLY. 

For the purpose of this trick, in addition to the four 
handkerchiefs openly used, which should be of dis¬ 
tinctive colours, say, red, white, orange, and blue, the 
performer must be provided with four pieces of similar 
material and colour, hemmed at the edges, and joined 
together in the form of a star, as shown in Fig. 150. 
At the point of intersection should be sewn a ring, about 
one inch in diameter, of fine gut. The performer must 
further be provided with a handkerchief vanisher of the 
kind referred to in More Magic , p. 212, disappearing 
between coat and vest under the compulsion of a piece 
of elastic. 

The four handkerchiefs are at the outset laid on a 
table, or thrown over the back of a chair. The per¬ 
former advances, picks up one of them, and shows it 
four-square. The spectators have no reason to suppose 


288 


Later Magic 


that his hands are otherwise than empty, but as a 
matter of fact, the gut ring is passed over the 
thumb of his right hand, and the “star” handkerchief, 
neatly rolled together, is concealed in the palm of the 
hand. This, however, is only a temporary state of 
affairs, for the moment he extends the first handker¬ 
chief (which, so far as the right hand is concerned, he 
holds between the first and second fingers), the thumb 



Fig. 150. 


is out of sight, and the four rays of the star may be 
allowed to drop to their full length. 

A second handkerchief is taken in the hand and 
spread out, the first being now allowed to hang by one 
corner from the right hand, due care being taken that 
it shall conceal the “star.” The third and fourth are 
shown in like manner, and all four are then allowed 
to hang down together. 

The performer now announces that he will make these 
four handkerchiefs visibly smaller, and he proceeds 












Later Magic 


289 


accordingly to roll them up gradually till he gets them 
into a compact ball, which he then conceals in the 
palm of the left hand, though to the eye of the spec¬ 
tator the handkerchiefs are still visible in the right 
hand, being represented by the four hanging ends of the 
star. (If the hands are kept gently moving up and 
down during the above process, the sharpest eye will 
not detect the substitution.) 

The right hand closes on these hanging ends, and the 
performer remarks that the handkerchiefs are already 
much reduced in size, but they will be smaller yet be¬ 
fore he has done with them. While all eyes are thus 
drawn to the right hand, the left drops to the side, de¬ 
posits the genuine handkerchiefs in the profonde, and 
gets hold of the vanisher. When the hands are again 
brought together, the performer, under pretence of rub¬ 
bing the handkerchiefs still smaller, works the “star” 
into this, and after a proper interval, shows that they 
have disappeared altogether. The trick may either 
end here or be amplified by the reproduction of the 
four handkerchiefs in some unexpected quarter, say, 
from an extemporized cylinder of paper, into which, un¬ 
known to the spectators, a tube, loaded with four dupli¬ 
cate handkerchiefs, has been inserted in the process of 
manufacture. 

The trick of which the above is a variation is, I be¬ 
lieve, the invention of a clever German conjurer, Herr 
Conradi, of Dresden. In place of the “star” handker¬ 
chief, he uses a square handkerchief made up of four 
smaller squares, and without the gut ring. In these 
two particulars I think the version above described is 
the better. Again, he uses, instead of the “vanisher” 

for the final disappearance, a hollow finger of celluloid, 
19 


290 


Later Magic 


of such a size that it can be worn till needed on the 
little finger of the left hand. This idea has much to 
recommend it, and in many cases I should imagine it 
would be found extremely useful. 

Section V. 

METHODS OF REPRODUCING A VANISHED HAND¬ 
KERCHIEF. 

After one fashion or another, we will suppose a hand¬ 
kerchief has disappeared. The next point is to repro¬ 
duce it in some quarter where it clearly was not a 
moment or two previously. I shall, however, in the 
present section, only describe one or two methods of 
doing this, leaving others to be dealt with in connec¬ 
tion with the complete tricks to which they form a 
denouement. 

REPRODUCTION BENEATH A SOUP-PLATE. 

This particular form of reproduction was referred to 
in More Magic in connection with a trick of Buatier de 
Kolta, but the precise mode of introducing the hand¬ 
kerchief under the plate was to some extent left to the 
imagination of the reader. 1 The method I am about to 
describe is in one or two particulars an artistic advance 
upon that then employed by Buatier. 

Two plates are in this case used. The handkerchief, 
duly rolled into a small compass, may either be vested 
or stuck on a projecting pin-point at the back of a 
chair. We will suppose that the latter arrangement is 
adopted; and that the two plates are laid, one upon the 
other, on the seat of the same chair. The performer, 
standing on the right side of the chair (as viewed by the 
1 “The Dissolving Handkerchief,” More Magic , p. 214. 


Later Magic 


291 


spectators) picks up with the left hand the upper plate, 
and transfers it, right side uppermost, to the right. As 
he stoops to pick up the plate, however, he rests the 
right hand for a moment, in a perfectly natural way, on 
the back of the chair; thumb in front, fingers behind; 
and as he receives the plate, draws the handkerchief 
off the pin. The effect is that the handkerchief is 
clipped between the fingers and the under side of the 
plate. 

He now picks up the second plate, but this he grasps 
in the reverse way, viz., fingers inside, thumb outside. 



Fig. 151. 


He holds up both plates, showing the inside of the one 
in the right hand, which we will call No. 1, and the out¬ 
side of the ope in the left hand, which we will call 
No. 2. (See Fig. 151.) He gives each a half-turn, 
showing the opposite side, and then brings them 
into a horizontal position, No. 2 (inverted) upper¬ 
most, and lowers the one on to the other. Then, 
making believe to notice some indications of suspicion 
on the part of the audience, he says, “Oh, no!” or 
merely smiles and shakes his head, and takes them 
apart again. This, however, he does by drawing 
off the uppermost plate (No. 2) with the thumb of the 


292 


Later Magic 


right hand, and grasping No. 1 with the left (see Fig. 
152). This has the effect of leaving the handker¬ 
chief between the fingers and the inside of plate No. 2, 
and in again bringing the two plates together, it is an 
easy matter to deposit the handkerchief between them. 

The above description may sound a little compli¬ 
cated ; but if followed with the plates in hand it will 
be found perfectly simple, and the sleight is one well 
worth acquiring, being the most artistic and effective 
method with which I am acquainted for attaining its 
special object. No conjurer who has once mastered it 
will ever again use a faked plate or other mechanical 
contrivance for the same purpose. 



Fig. 152. 


Instead of being placed on a pin behind the chair in 
the first instance, the handkerchief to be produced may 
be folded small, and kept in that condition by a little 
band of tissue paper of the same colour, which band is 
attached, by means of a pellet of adhesive wax, to the 
edge of the undermost plate. In this case the left hand 
elevates the first plate and the right hand the second. 

REPRODUCTION FROM A SEALED ENVELOPE. 

The handkerchief to be produced is rolled up into a 
small compass, and kept from unfolding by a flat rubber 
band, not too narrow, on one point of which is fixed a 



Later Magic 293 

little dab of adhesive wax. This is vested or placed in 
a pochette. 

An envelope, freely chosen from a packet, is either 
sealed, or closed by wetting the adhesive flap, as the 
case may be, and marked in any manner the company 
may desire. It is then placed in some conspicuous 
position on the performer’s table, say in a notch cut in 
the top of the cork of a bottle, or resting against a 
candle in a candlestick. During the journey to the 
table, however, the performer, by means of the dab of 


r—. 



Fig. 153. 


wax, has secretly attached the prepared handkerchief 
to the hinder side of the envelope. 

The performer, taking a similar handkerchief, “van¬ 
ishes ” it by one or other of the methods already referred 
to, and shows his hands unmistakably empty. Then, 
advancing to the table, he picks up the envelope, and 
tears off one end of it. Plunging his fingers into the 
open end, he brings them out again, and with them 
the handkerchief, apparently out of the envelope, but 
really drawn up by the thumb from behind it. 

Another method is to pack the handkerchief into a 
little circular box, of tin, celluloid, or cardboard, with 




294 


Later Magic 


a lug on either side, as illustrated in Fig. 153 (the 
dotted lines representing the envelope). The opening, 
as will be seen, is at the top. In this case, no adhesive 
is needed, the performer showing all fair, apparently, 
by passing the envelope from hand to hand, the fore¬ 
finger and thumb of the hand in use holding the appro¬ 
priate lug fast against the envelope, and so keeping the 
little box in position. 

TWO VANISHED HANDKERCHIEFS REPRODUCED FROM A 
NEST OF THREE ENVELOPES. 

This is a somewhat more elaborate form of the same 
trick. A couple of envelopes are handed for inspection. 
Each is found to contain a smaller envelope, and this 
another, smaller still. The spectators to whom they 
are handed are invited to moisten the adhesive flaps, 
close them, and replace each smaller one in the next 
larger; so that the two sets constitute two “nests” of 
envelopes, all closed. In order to preclude any possi¬ 
bility of substitution, the holders are invited, before 
parting with them, to mark the outer envelopes in some 
conspicuous way, the one with a blue pencil, the other 
with a red one. 

This done, the performer places them, with the marks 
in full view, side by side on a miniature easel, standing 
on his table. On this is placed beforehand a square 
of blackened cardboard, its ostensible object being to 
make the envelopes more conspicuous and prevent their 
falling through the easel. 1 

1 Two easels are sometimes used, placed on separate tables. 
Where circumstances permit, this is the more effective arrange¬ 
ment. The working of the trick is the same in either case. 


Later Magic 


295 


The performer then produces, by any means he 
pleases, two handkerchiefs, a red and a blue one. He 
announces that he will pass these separately into the 
two envelopes, the red handkerchief into the red- 
marked envelope, and the blue handkerchief into the 
blue-marked envelope. 

The first step is to cause the handkerchiefs to disap¬ 
pear, which again may be done after any fashion the 
performer pleases. He then takes, say, the envelope 
with the red mark. He opens it by tearing off one end, 
and from it produces the second envelope, throwing the 
first aside. Tearing open the second in like manner, he 
produces the third, and from this the red handkerchief. 
He deals in like manner with the second nest of en¬ 
velopes, and from the innermost produces the blue 
handkerchief, the handkerchief coming in each case 
veritably from inside the envelope. 

The acute reader will hardly need to be told that the 
handkerchiefs thus produced are duplicates, but how 
they came within the envelopes is not quite so obvious. 
The secret lies in the fact that the envelopes, with 
the exception of the two outer ones, are duplicates 
also. 

The performer prepares for the trick by placing a red 
handkerchief in an envelope of the smallest size and 
enclosing this in one of the next size, which, by the way, 
should be a full half-inch less in length than the largest 
envelope. 

This is placed just behind the cardboard on one side 
of the easel, at the back of which there is a little shelf 
with a deep groove in it to receive it. The blue hand¬ 
kerchief is dealt with in like manner, and the two en¬ 
velopes containing it are placed behind the easel at the 


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Later Magic 


opposite side. In placing the marked envelopes on the 
easel, as above described, the performer takes care to 
place the one with the red mark in front of the pair 
loaded with the red handkerchief; and the one with the 
blue mark in front of the pair which contain the blue 
handkerchief. 

In subsequently taking the red-marked nest of en¬ 
velopes from the easel, he does so with fingers in 
front and thumb behind, and draws it off sideways, at 
the same time drawing off behind it the loaded en¬ 
velope. Holding the marked envelope upright, with 
the mark towards the spectators to show “no decep¬ 
tion,” he tears off the upper end, dips his fingers in and 
draws up, not as the spectators imagine, the envelope 
enclosed in it, but the loaded one from behind. The 
keenest eye cannot detect the substitution. The large 
envelope is now thrown carelessly aside, ostensibly 
empty, while the performer, stepping forward, opens 
the remaining two envelopes and produces the hand¬ 
kerchief. The blue handkerchief is then produced in 
like manner. 

Some performers vary the trick by vesting the two 
loaded envelopes and placing them behind the marked 
ones during the transit to the easel, which in this case 
may be used without the black cardboard. This plan 
has the advantage that the spectators may be invited 
to choose whether the two handkerchiefs shall appear 
in the envelopes respectively marked with their own 
colours, or the reverse. This undoubtedly adds to the 
effect of the trick . 1 

1 For a very good description of the trick performed in this 
manner, see the recent work of Mr. H. R. Evans, Magic and Its 
Professors , p. 197. 


Later Magic 


297 


THE DRUM-HEAD TUBE. 

This, one of the most up-to-date and most ingenious 
appliances for the reproduction of a handkerchief, is of 
American invention. It consists, ostensibly, merely of 
a brass tube, polished or nickel-plated, five inches in 
length by one and a half in diameter (see a, Fig. 154), 
and a couple of flat metal rings, b, c, fitting easily over 



it. A book of cigarette-papers, about two inches in 
width, completes the visible apparatus. 

These various items having been submitted, in 
a casual way, for inspection, the performer hands 
the empty tube to one of the spectators, who is 
invited to place one of the cigarette-papers over 
either end, and to secure it by forcing one of the rings 
over it. It is then passed to some one else, and the 






298 


Later Magic 


opposite end is treated in like manner, the tube thus 
forming a sort of miniature drum, with tissue-paper 
ends. 

The little drum being returned to the performer, 
he places it in the hands of a third spectator for safe¬ 
keeping. Taking a small silk handkerchief, he an¬ 
nounces that he is about to pass it into the empty- 
tube. He “vanishes” it by any method that he 
pleases; then, taking back the little drum, he breaks 
the paper at one end, and the handkerchief is found 
inside. 

The secret lies in the use, unknown to the spectators, 
of the little appliance marked d in the diagram. This 
is a metal tube, one end of which is normally open. 
The opposite end is closed, tapering down to a fairly 
sharp-pointed cone. This is prepared by packing a 
duplicate handkerchief into it, after which the open 
end is closed with another cigarette-paper, which is 
kept in position by a third ring, e , passed over it. The 
upper edge of e curls over slightly to the outside, the 
appearance of the two in combination being as /, and 
the two together being of such a diameter as to just fit 
within a. 

When the newly made “ drum ” is handed to the per¬ 
former he has this palmed in his left hand, point out¬ 
wards. He takes back the drum with the right, and 
holds it horizontally between the hands while he asks 
who will volunteer to take charge of it. In that mo¬ 
ment he presses the fake into the end of the drum; the 
conical point forcing its way through the original paper. 
When it is fully home it leaves the appearance of the 
drum exactly as before, though it is now loaded with the 
duplicate handkerchief. 


Later Magic 


299 


REPRODUCTION FROM A CANDLE. 

This is a very pretty form of reproduction, and be¬ 
comes all the more effective if the performer has pro¬ 
fessedly “passed” the handkerchief, by means of one 
or other of the vanishing processes, into the candle in 
the first instance. 

The old-fashioned method of producing this effect 
was to insert the handkerchief to be produced in a paper 
tube with a candle-end at top, representing, when 
placed in a candlestick and lighted, a genuine candle. 
This was wrapped in paper, and the paper and its con¬ 
tents then tom in half, the handkerchief being ex¬ 
tracted from the ruins, and a substitute candle being 
produced from the tail pocket of the operator. 

This sort of thing the high-class performer will let 
severely alone. A rather better plan, if the wizard has 
no confidence in the magic of his own fingers, is to have 
the handkerchief neatly packed into a longitudinal 
groove in one side of the candle, which is then papered 
over. A minimum of dexterity will then suffice to 
draw the handkerchief apparently out of the flame, but 
there is always the risk that some spectator of an in¬ 
quiring turn of mind may ask for a nearer view of the 
mysterious bougie , when the wizard will be brought to 
shame and confusion. 

Buatier de Kolta’s method of passing a handkerchief 
into a candle, and reproducing it from thence, is as 
follows: 

On the performer’s table is a candle, in a candlestick, 
but unlighted. Beside it is an ordinary match-box, a 
little way open. Into the cavity thus left at one end 
a handkerchief is neatly packed. In the right sleeve 


300 


Later Magic 


of the performer rests a “vanisher” attached to a 
pull, led to the opposite wrist, as described in More 
Magic . 1 

Thus provided, the performer shows a duplicate 
handkerchief, rolls it up in the right hand, and transfers 
it, with a make-believe appearance of awkwardness, to 
the left. He then places the right hand behind him, 
and (by flexing the right arm a little) allows the van¬ 
isher to sink down into it. The spectators naturally 
believe that the handkerchief is still in the right hand. 
Appearing suddenly to realize this, the performer 
slowly opens the left hand, and shows that they are mis¬ 
taken, for the handkerchief is there. He then transfers 
it to the right hand, and holding this over the candle, 
with its back to the spectators, works the handkerchief 
into the vanisher, which he then draws up the sleeve, 
the hand being left empty and the handkerchief having 
ostensibly passed into the candle. The performer ex¬ 
plains that it is much more difficult to get it out again, 
but he will endeavour to do so. First, however, he must 
light the candle. This he does, and closes the match¬ 
box, the act of doing so pushing the concealed hand¬ 
kerchief into his left hand. He nips the flame with the 
thumb and second finger of the opposite hand, as if 
pulling something out of it, then rubs the hands to¬ 
gether, and the handkerchief is seen to have returned. 
The latter part of the trick may of course be performed 
with bare arms. 

A somewhat more elaborate method is as follows: 
The vanisher is dispensed with, and one handkerchief 
only is used. The candle and match-box are disposed 
as in Buatier’s version, save that the latter, though 
1 Pp. 209-210. 


30 


Later Magic 

pushed slightly open, contains no handkerchief. The 
only new item of apparatus is a ring of very thin wire, 
about an inch and three quarters in circumference. 
This at the outset, pulled into an oval shape, is con¬ 
cealed between the fingers of the performer’s right 
hand. Showing the handkerchief in the same hand, he 
proceeds to fold it as small as possible, secretly intro¬ 
ducing it into one end of the wire loop. He then gives 
this a double twist at the centre, transforming it into a 
figure of 8, the handkerchief being held fast in one of 
the two loops thus formed. The unoccupied loop he 
slips over the thumb of the right hand. He now makes 
believe to transfer the little parcel to the left hand, 
really throwing it over the back of the right hand. He 
then makes a rubbing movement over the candle with 
the left hand, and shows both hands empty, the hand¬ 
kerchief having ostensibly passed into the candle. This 
he now proceeds to light, taking a match from the 
box for that purpose. Meanwhile he has got the 
little parcel over to the front of the right hand, and 
pushes it into the hollow end of the match-box, the 
loop projecting. He is now able, in a casual way, 
to show the hands both back and front, unmistakably 
empty. 

His first attempt at lighting the candle is a failure, 
for he accidentally (?) drops the match. This necessi¬ 
tates his picking up the box again to take another. In 
so doing he slips the thumb through the wire loop, and 
regains possession of the handkerchief. After lighting 
the candle, he passes the hand over the flame, and a 
moment later shows the recovered handkerchief, first 
breaking the wire, and so enabling it to expand to its 
normal dimensions. 


302 Later Magic 

THE GLASS BOX, FOR REPRODUCING A HANDKERCHIEF. 

This is a box, cubical in shape, and measuring about 
four and a half inches each way. The sides are of 
clear glass, set in a metal framework, which may be 
either enamelled black or nickel-plated, the latter of 
course being the more elegant in appearance. The box 
is supported on four metal feet. 

In principle it is the same as the familiar card-box. 
To the hinder edge of the bottom of the box, inside, is 
hinged a glass flap, which normally lies against the back 
of the box, being kept in that position by the pressure 
of a spring. It may, however, be folded down upon 
the bottom, and kept in that position by means of 
a spring catch. This catch can be withdrawn at the 
pleasure of the performer, either by giving a half-turn 
to one of the feet or by pushing aside a little projecting 
tongue, according to the construction of the particular 
box. 

The box is prepared for use by placing one or more 
handkerchiefs in it, not folded, but put in anyhow. 
The movable flap is then folded down over them and 
secured by the spring catch. In this condition the box 
may be freely shown, if only the performer takes care 
to hold it horizontally, and does not allow the specta¬ 
tors to get a view of the bottom, either from within or 
without. A good plan is to hold it flat on the hand in 
front of a lighted candle, when the fact of the flame 
being visible through the transparent sides seems to 
afford conclusive proof that it is really empty. 

Duplicates of the concealed handkerchiefs are then 
‘‘vanished” by any of the means already described. 
Taking the box in one hand and a lady’s fan in the 


Later Magic 303 

other, the performer fans the box, and under cover of so 
doing releases the catch. 

The flap flies up, and the handkerchiefs instantly 
expand, nearly or quite filling the box. These are re¬ 
moved and the box again held in front of the candle, 
the light being shown through both sides and bottom, 
and proving conclusively (?) that there is “no decep¬ 
tion” about it. 


Section VI. 

MISCELLANEOUS HANDKERCHIEF TRICKS. 

The reader who has fully mastered the instructions 
given in the earlier sections of this chapter should have 
little to learn as to the manipulation of handkerchiefs. 

There is, however, still unlimited scope for inventive 
genius as to the most telling use of the forces at his 
command and the introduction of such incidents as 
may enhance their effect. One or two examples of such 
combination may therefore be acceptable, and I cannot 
better begin than with an illusion which, in the hands 
of the inventor, has delighted many thousands of spec¬ 
tators, and which has formed the basis of a score of 
more or less perfect imitations, some of which have 
been already discussed in the course of this chapter. 

devant’s handkerchief trick . 1 

This is a trick of three distinct stages; consisting of, 
first, the production of three white handkerchiefs in 

1 See remarks on p. 241. The present is the first occasion on 
which a really correct explanation of this trick appears in print. 
The description has been revised by Mr. David Devant himself, 
and is published by his express permission. 


304 


Later Magic 


succession; next, changing their colour to red, green, 
and yellow respectively, and lastly, after knotting two 
of them together and placing them in a glass lamp- 
chimney, causing the third to vanish from a second 
lamp-chimney and be found securely tied between the 
two others. 

The requirements for the first two stages of the trick 
are as under: 

1. Three white handkerchiefs of finest French sars- 
net, each fifteen inches square. Of these, one is packed 
into a false finger, which is placed, opening upwards, 
just within the opening of the performer’s vest on the 
left side. The second is packed into the end of a half- 
open match-box, on his table, and the third, folded 
small, is bestowed inside the bend of his left elbow. 

2. A brass tube, four inches in length by one and 
one half in diameter, slightly flattened, that it may 
not roll off when laid upon the table. This tube is 
loaded with three handkerchiefs, of the same size as the 
white ones. Each has a violet border about an inch 
wide, but the colours of the centre portions vary; the 
one first inserted being red, the second yellow, and the 
third green. 

3. A piece of stiff drawing-paper, ten and one half 
inches by eight, prepared as follows: One end is folded 
down to a depth of two and one half inches. The hand¬ 
kerchief tube is then laid on the folded portion, and the 
paper rolled tightly round it, so that when the tube 
is removed, it shall still retain a certain amount of 
curvature. 

In arranging for the performance of the trick, 4 -he 
paper is laid on the table as shown in Fig. 155, 


Later Magic 


305 


folded end (now opened out again) being farthest away 
from the spectators, and concealing the loaded tube, 
which lies just behind it. The end of the tube with the 
red handkerchief lies towards the performer, as he 
stands to work the trick, which he does throughout with 
the table on his left hand. 

4. Vest servante, in position ready for use. 1 

The performer begins by announcing that he wants a 
white silk handkerchief. In order to produce one, he 
must warm his hands. He accordingly takes a match 
from the box, strikes it, lays the box down again, and 
with the lighted match makes believe to warm first 



the one palm, and then the other, thereby calling at¬ 
tention, indirectly, to the fact that his hands are empty. 
He then draws back, first the right sleeve, then the left, 
and in so doing gets the handkerchief from the bend of 
the arm into the right hand. He brings the palms 
of the hands together, and produces the handkerchief 
from between them, the silk expanding spontaneously 
as the pressure is removed. 

Exhibiting it, and laying it down on the table, he re¬ 
marks, cheerfully: “ I always make my white handker¬ 
chiefs like this. First I show you that my hands are 
empty. I bring them together.” (He does so, palm 
to palm.) “Nothing could be more simple. Watch! 

1 See p. 26. 

20 




3°6 


Later Magic 


I will do it again. It’s a very simple trick. All you 
want is a couple of hands and a match, and then you 
have a strike.” 

He strikes a match, and in closing the box squeezes 
out the concealed handkerchief into his right hand. 
He makes believe to warm the hands, as before, then 
brings them together. “You have heard of hands 
working together better after a strike, haven’t you? 
You just warm them up, and almost immediately 
you produce the manufactured article.” He rubs the 
hands together, and produces the second handkerchief. 

“I would like some one to see that these are really 
handkerchiefs. Will some of those ladies be good 
enough to examine this? It’s a nice piece of silk, 
is n’t it ? A rich sort of silk, the sort you get for four 
three a yard, you know. In case any one did not see 
how that was done, I will do it again, very slowly. I 
bring my empty hands slowly together, and almost 
immediately I get what I want.” (Produces third 
handkerchief.) “I think this plan is rather better 
than buying these little things. It comes cheaper.” 

A word of explanation will here be desirable. So 
soon as the second handkerchief is produced the per¬ 
former nips both by one corner between the first and 
second fingers of the left hand. One of these he then 
hands for examination as above. When it is returned, 
he replaces it hanging down from the left hand as be¬ 
fore, and under cover of the two handkerchiefs reaches 
into the vest and gets possession of the false finger. 
This is inserted between the second and third fingers of 
the right hand and the hands brought palm to palm, 
under which conditions the presence of the finger can¬ 
not possibly be detected. A moment later this is bent 


307 


Later Magic 

down between the palms and the third handkerchief 
produced. Under cover of its production, the then 
empty finger is dropped into the vest servante. 

After a little “patter ” as to the colour of the three 
handkerchiefs, which, he says, may be variously re¬ 
garded as “art white,” “subdued white,” or “dirty 
white,” according to the taste of the beholder, the per¬ 
former, holding all three still in his left hand, with the 
right picks up the piece of paper, ostensibly to make 
room for them on the table, whereon he lays them ac¬ 
cordingly. 1 In taking up the sheet of paper, he picks 
up with it the loaded tube, which adapts itself to the 



Fig. 156. 


concave side of the folded-down portion. The paper 
and tube are held vertically between the forefinger and 
thumb. He bends the free portion of the paper back¬ 
wards and forwards, showing that there is nothing con¬ 
cealed behind it, and then rolls it into a cylinder, the 
portion previously folded naturally folding itself down 
as before against the tube. (Fig. 156 gives a sectional 
end view of the paper and tube, save that the paper 
would in reality be wound a good deal closer.) The 

1 It should be mentioned that the table used by Mr. Devant in 
this trick is a small portable affair, the top, which is oblong, measur¬ 
ing about sixteen inches by ten only. This limitation of space 
facilitates the working of the trick, the picking up of one article to 
make room for another affording just the opportunity needed for 
some of the essential movements. 


3°8 


Later Magic 


paper and tube, still held upright, are now transferred 
to the left hand; the little finger lying across the lower 
end. 

With the right hand the performer picks up one of the 
handkerchiefs, and again inserts its uppermost corner 
between the first and second fingers of the left hand. 
A second is dealt with in the same way. Thus held, the 
two handkerchiefs screen the lower end of the paper 
cylinder, and the brass tube is now allowed, resting on 
the little finger, to drop a couple of inches below the 
bottom of the cylinder. The patter meanwhile has 
been continued as follows: 

“With this paper I make a tube. There is nothing 
inside. It is simply a piece of paper rolled up. Every 
item I use is quite unprepared. Nothing in the tube, 
and nothing concealed in either of these three white 
handkerchiefs. Oh, yes!” (as he picks up the third 
handkerchief), “I see, there is a tiny little hole con¬ 
cealed in this one—but I expect that was born there.” 

With the right hand he throws the third handker¬ 
chief up in the air, a few inches only, and catches it 
again, crumpled together. He then brings it close to 
the lower ends of the other two handkerchiefs, and 
raises all three together till they meet the bottom of 
the tube. This latter is then allowed to drop into the 
right hand, which, however, is instantly turned over, 
the handkerchiefs likewise falling over, and so masking 
the tube. The paper cylinder is, of course, now empty, 
and the spectators are allowed to see clearly that it is 
so. He continues: “ I got the idea of this trick through 
travelling on the Metropolitan Railway. I always 
travel on that line when I can, because I am fond of 
scenery. Now I am simply going to pass these white 


Later Magic 


309 


handkerchiefs slowly through this cardboard tube.” 
He inserts them at the bottom, in so doing again in¬ 
serting the brass tube and gradually pushing the white 
handkerchiefs into this, thereby forcing out the others. 

‘ ‘ It seems a curious thing, but for a long time past I 
have been living by conjuring, and now I am going to 
dye by it. Simply passing the handkerchiefs through 
this tube will have the effect of changing them into the 
very latest shades. ’ ’ (He begins to draw out the coloured 
handkerchiefs at top.) “You can see here three art 
shades—Regent Street art. Here is a nice quiet colour 
called ‘autumn green.’ This again is rather a sweet 
tint, ‘faded ginger.’ This last is exquisite; it is the 
prettiest pink known—to drapers; and is called ‘the 
maiden’s blush.’ Here are the three handkerchiefs, 
and here is the little piece of cartridge paper.” 

During the production of the handkerchiefs the paper 
cylinder is held upright in the left hand. As each 
handkerchief is extracted by the right hand at the top, 
it is returned to the left hand and allowed to hang down 
by one corner from between the fingers. The handker¬ 
chiefs thus hanging mask the bottom of the paper 
cylinder, and just as the third handkerchief is exhibited 
the left hand is drawn back as far as the opening of the 
vest, and lets the brass tube (which now contains the 
three white handkerchiefs) slip down into the servante. 1 

The performer drops the three handkerchiefs from 
the height of a foot or so down on his table, thereby 
proving indirectly that there is no tube concealed in 
them. The red one is left uppermost, in readiness 
for the next phase of the trick. The performer then 

1 The reader may be interested to know that the vest servante 
was devised by Mr. Devant for the purpose of this particular trick. 


3io 


Later Magic 


retires for a moment or two behind the scenes, remark¬ 
ing : “ I make a practice of retiring for a little while after 
each trick, to give people an opportunity of telling 
each other how it’s done. It makes the trick more 
interesting.” 

For the concluding stage of the trick a little further 
preparation is necessary. Three handkerchiefs, cor¬ 
responding in appearance with the three last produced, 
are tied comer to comer, the red one being in the 
middle. This latter is folded in half diagonally on the 
yellow one, which is rolled round it. The two, twisted 
ropewise, are then wound tightly round the forefinger, 
and the green handkerchief round these, the final end 
being tucked into a fold. In this condition they form 
a compact little ball, which lies till needed behind the 
scenes. 

On the performer’s person is a “pull,” after the kind 
originated by Robert-Houdin (who, however, did not 
fully realize its possibilities), and used at a later 
date with such good effect by Buatier de Kolta. Mr. 
David Devant, however, has “gone better” than his 
predecessors, the very slight movement of the arms re¬ 
quired to actuate his pull having fairly puzzled his 
brother wizards, and having set them to devising elabo¬ 
rate mechanical contrivances to get the same effect, 
which, however, he obtains in a ridiculously simple 
way. His improvement practically consists in shorten¬ 
ing the pull, and attaching the fixed end of the cord to 
the upper arm, instead of to the wrist. 

The exact specification of Mr. Devant’s appliance 
is as follows: A leather strap, of the garter kind, is 
buckled round the left arm, just above the elbow. On 


Later Magic 311 

this runs a brass ring, to which is attached a piece of 
stout whipcord, two feet six inches long. At the free 
end of this is a loop of much finer cord, six inches in 
length. These are “whipped” the one to the other, so 
that there may be no knots to impede the perfect work¬ 
ing of the pull. 

The cord travels from the left arm across the back 
(outside the vest), and down the right sleeve. In order 
to keep the loop instantly available till wanted, and at 
the same time to leave his arms perfectly free, Mr. 
Devant uses another ingenious little device, to the best 
of my belief peculiar to himself, viz., he simply passes 
a spare handkerchief midway through the loop and 
allows it to be drawn up the sleeve. The military plan 
of carrying the handkerchief in this way has now be¬ 
come so common, even among civilians, that it excites 
no remark, and the performer has only to draw the 
handkerchief out of his sleeve (simultaneously passing 
the loop over the thumb), wipe his face with it, and 
place it in his pocket, to have the pull ready for action. 

To show the trick, the performer comes forward with 
the loop over his right thumb. Palmed in the same 
hand, he has the little bundle of three handkerchiefs, 
arranged as above. In the left hand he brings in the 
two lamp-chimneys. 

After exhibiting the two last-named articles, he 
makes room for them on the table by picking up, with 
the right hand, the three handkerchiefs already used, 
thereby masking the little package concealed in the 
hand. He then transfers the yellow and green hand¬ 
kerchiefs to the left hand, and lays the red one down 
again, with the little bundle behind it. He next ties 


312 


Later Magic 


the yellow and green handkerchiefs together, comer to 
corner, twists them ropewise, and rolls them into a ball, 
the green one outermost. 

The patter up to this point is to the following effect: 
“For my next experiment I use these same handker¬ 
chiefs and these two glass tubes. You can see through 
them. I hope you won’t be able to see through me. I 
take two of these handkerchiefs and tie them together. 
I tie them by the corners, so. I think that you will be 
inclined to admit that these are fairly tied. I do not 
like to trouble you to examine these things because 
there is no entertainment in examining them—espe¬ 
cially when there’s nothing to find out. I am going to 
roll up these handkerchiefs in a small bundle. I will 
do it slowly. I do everything slowly; I do hate to de¬ 
ceive people. Observe, my whole apparatus consists 
of this little bundle ” (he shows it between finger and 
thumb of left hand), ‘ ‘ this red handkerchief, and these 
two glass tubes.” 

With the right hand he picks up the red handker¬ 
chief, with the bundle of three behind it, and then (on 
the tacit pretext of needing the left hand to handle 
the lamp-chimneys) transfers the bundle of two to the 
same hand, just below the bundle of three. The hand 
is now tilted over slightly, so that this latter bundle 
(ostensibly the same) comes into view. With the left 
hand he moves the glass tubes a little farther from one 
another, and while the general attention is thus at¬ 
tracted in that direction, drops the bundle of two 
handkerchiefs from the right hand into the vest ser- 
vante. “ I put these two handkerchiefs ” (the bundle of 
three) “into one of the glass tubes, so that they are iso¬ 
lated from everything. Perhaps some gentleman will 


Later Magic 313 

hold the tube between his hands, so that I can’t possibly 
get at them. High up, sir, above your head. 

“Now for the swindle—problem, I mean. The red 
handkerchief I propose to put in this other tube. See 
that I do it fairly. I want you to see that I really put 
it into the glass. You see I put it as nearly as possible 
in the centre of the tube, so that it is out of reach of 
my fingers. But I am not going even to put my 
fingers near it. I am going to hold it between the 
palms of my hands, so.” (He holds the glass horizon¬ 
tally between the palms.) “In this position, you see, 
the only way the handkerchief can be got at is by break¬ 
ing the glass. And yet, when I say, ‘ Go,’ it will vanish 
from the cylinder. Look! Is n’t it exciting? Watch 
carefully, it is just off. Going! Going! Go!” 

It is hardly necessary to inform the reader that be¬ 
fore pushing the handkerchief into the glass cylinder it 
was first passed through the loop of the pull. When 
the performer says “Going! Going! Go!” he at each 
word raises the cylinder shoulder high and lowers it 
again. 

Up to the critical moment the elbows are kept close 
to the sides, but at the word “ Go!” they are lifted out¬ 
wards for a moment. The movement is so slight as to 
be practically imperceptible, but the handkerchief dis¬ 
appears like a flash. 

“It is very simple. All you want is a tube made of 
precipitated glass. I often hear people say ‘ It disap¬ 
pears up his sleeve.’ I hope that you won’t believe 
that it disappears up my sleeve. I will show you my 
sleeve.” 

He unfastens the cuff, and draws up the sleeve, showing 


3*4 


Later Magic 


the bare arm. “There ’s no arm—harm, I mean—in 
showing you there is nothing up my sleeve, except 
this. This is solid—I know it’s solid—I have had it a 
long time. I have another in the other sleeve, I have 
had just as long. In fact, they were a sort of birthday 
present. I always carry them with me; I have got 
used to them. 

“Now I will show you that the handkerchief has 
really arrived at the other tube, and that forms the 
answer to the problem. If I have succeeded, we shall 
find that it has not only gone to the other tube, but has 
tied itself between the two others.” Which is, on ex¬ 
amination, found to be the case. 

I have dealt with this trick at somewhat dispropor¬ 
tionate length, in order to give, to the best of my 
ability, an exact idea of its actual working. As will be 
seen, the “patter” is of the simplest kind; but this, 
slight though it is, is arranged with excellent judgment 
to make the needful opportunities for the various move¬ 
ments of the trick. I can imagine few better lessons, 
even for an advanced student of conjuring, than, after 
having mastered this description and got a clear idea 
of the successive processes, to go and see the trick 
worked by Mr. Devant, and notice how skilfully a series 
of perfectly natural movements are made to cover the 
necessary manipulations of the conjurer. The most 
striking testimony to the excellence of the trick is this, 
that the illusion is still complete, even though the 
spectator may know, theoretically, how it is effected. 

The “lamp-chimney” vanish, in one form or another, 
has practically superseded Buatier de Kolta’s trick of 


Later Magic 


3i5 


passing a handkerchief from one decanter into another. 
The fact that the second decanter was covered was 
a weak point, which is avoided in the more modem 
version. 


THE HAT AND HANDKERCHIEF. 

This neat little trick is the invention of a wizard 
hight Francis King, a German, I believe, though per¬ 
forming under an English name. 

The requirements are as follows: 

1. A couple of small cylindrical tumblers (such as 



f C > 



A 


are used to cover bedroom water carafes). (See a, Fig. 
I57-) 

2. Four small handkerchiefs, two red and two blue, 
and two miniature handkerchiefs, say three inches 
square, one of each colour. These should be sewn to¬ 
gether, comer to corner, for greater convenience in 
handling. 

3. A chair with a small bag servante behind it. 

4. A piece of white paper, eight inches by seven; 
not too stiff, but strengthened on one side by the addi¬ 
tion of two strips of stouter paper. These are pasted 
across the width of the larger paper, at equal distances 







3i6 


Later Magic 


from its two ends, and just so far apart that the dis¬ 
tance between their outer edges shall correspond with 
the height of the glass tumblers. One of these two 
strips is pasted down throughout its length; the other 
only at the ends, the space between forming a band 
under which are tucked the two miniature handker¬ 
chiefs, as shown in the diagram. The paper, thus 
prepared, is rolled up, with the strips inside, and 
kept in that condition till it acquires a slight inward 
curve, enabling the performer to lay it, without fear 
of its falling, over the back of the chair behind which 
is the servante. Two of the larger handkerchiefs, one 
of each colour, are tucked loosely into one of the glasses 
and placed on the seat of the same chair. The second 
glass, containing the other two, is vested, lying hori¬ 
zontally with its opening to the right hand. 

To show the trick, the performer borrows a soft felt 
hat, and in turning to the chair, introduces the vested 
glass into the hat, 1 which he places thereon, at the same 
time picking up the visible glass and handkerchiefs. 
Taking out and showing the handkerchiefs, he again 
packs them into the glass. Next, with the same hand 
with which he holds the glass, he picks up the sheet of 

1 This may be conveniently managed as follows: In receiving the 
hat (with the right hand) from the lender, grasp it by the brim with 
fingers inside, thumb outside. In moving towards the chair, hold 
it in front of you, crown downwards; thrust the thumb into mouth 
of glass, and draw this down till it rests on the outside of the hat, 
kept in position by the thumb. The hat may now be transferred 
to the opposite hand (the glass being secured by the left thumb, in 
this case outside the glass). Both hands having been thus proved 
apparently empty, the hat is returned to the right hand, and the 
thumb takes up its original position inside the glass. In the act 
of turning the hat over the thumb loads the glass into it, the keenest 
eye being unable to detect the movement. 


Later Magic 


3^7 

paper and makes believe to wrap the glass in it. In 
reality, however, he lets the glass drop into the bag of 
the servante, and the paper when rolled up is empty, 
though, if it is carefully handled, the strips of paper on 
its inner side make it appear exactly as if it really con¬ 
tained the glass. 

The next step is to close one end of the cylinder thus 
made, the paper being turned down just at the edge of 
the stiffening strip. The other end of the cylinder is 
then closed, but the performer, as if bethinking himself, 
first draws out and exhibits a portion of the two minia¬ 
ture handkerchiefs, proving apparently that the hand¬ 
kerchiefs (and inferentially the glass) are still within 
the cylinder. This is then pushed back by the aid of 
the wand and the end closed. After a little appro¬ 
priate patter, the performer crushes the paper into a 
shapeless mass, throws it aside, and produces the miss¬ 
ing tumbler and handkerchiefs from the hat upon the 
chair. 

THE CLOSED GLASS TUBE ( VETXJ 1 EN CRISTAL). 

This very neat illusion (which I believe originated 
with Professor De Vere, before mentioned) resembles 
that last described, in so far that in each a hat and 
a handkerchief play prominent parts, but they have 
nothing else in common. 

The effect of the trick is that a handkerchief, bor¬ 
rowed or otherwise, is placed in a short glass tube, 
closed at one end after the manner of a test tube. (See 
a in Fig. 158). The opposite end is closed by a metal 
cap, b. The handkerchief thus safeguarded is placed in 
a borrowed hat. 


Later Magic 


3i8 

After a due amount of “patter,” the tube on being 
taken out of the hat is found to be empty, and the 
missing handkerchief is presently reproduced in some 
other quarter. 

As a matter of fact there are two tubes, exactly alike; 
each with its own cover. In the left sleeve of the per¬ 
former is a pull, terminating in a metal cup, c, of such a 
shape and size as to just fit over the 
rounded end of the tube. The pull is of 
the elastic kind, and so arranged in point 
of length that the cup shall lie, when the 
arm is extended, just above the shirt- 
cuff. By bending the arm, it may be 
brought into the hand. 

To prepare for the trick, one of the 
tubes, with the cover on, but empty, is 
placed under the right side of the per¬ 
former’s vest. His first step is to borrow 
a hat, which he receives in the left hand. 
As he bends forward to take it, he gets 
the tube from under the vest into the 
right hand, to which the hat is then im¬ 
mediately transferred. The tube is held 
under the brim, outside, while the hat 
is carelessly held up and shown empty; 
after which it is an easy matter to trans¬ 
fer it to the inside. The hat, now containing the empty 
tube, is placed upon the table. 

The next step is to exhibit the second tube and the 
handkerchief, which some one is invited to place in the 
tube. It is taken back by the performer with the right 
hand, but is forthwith transferred to the left, into which 
the performer has meanwhile got down the cup. This 



Fig. 158. 











Later Magic 


3i9 


is slipped over the end of the tube, which the performer 
then makes believe to place in the hat. In the act of 
doing so he releases the pull, and the tube is drawn up 
the sleeve; though to the eye of the spectator, who has 
seen the hand go into the hat holding the tube, and re¬ 
appear empty, it appears an absolute certainty that 
the tube has been left in the hat. In due course the 
empty tube is exhibited and the handkerchief repro¬ 
duced as may be desired. 

THE HANDKERCHIEF CUT AND RESTORED (MODERN 
METHOD). 

This, so far as the above description goes, is one of 
the oldest of conjuring tricks; every schoolboy knows 
that the handkerchief is not cut at all, and that if the 
performer were to spread it out, it would be seen to be 
uninjured. 

Such was the case, no doubt, but as our French 
friends say, “Nous avons change tout celaN The con¬ 
jurer of to-day does spread out the handkerchief. 
It is not changed, but is the genuine borrowed article. 
In the middle of it is a huge hole, through which 
may be seen the coat sleeve, or the trouser-leg, over 
which it is outspread. And yet, “Presto!” the dam¬ 
age is repaired and the handkerchief is whole as at 
first. 

The secret lies in the use of a very simple little appli¬ 
ance. Two small pieces of cambric, about five inches 
square, are lightly tacked together at the edges, forming 
a sort of little bag. Between them lies a piece of thin 
black cloth, a shade smaller. This is vested, and at 
the proper moment got into the right hand, on the palm 


320 


Later Magic 


of which it lies flat, with the centre of the borrowed 
handkerchief laid over it. The hand closes on them 
and turns them over, then transfers them to the left 
hand. The little cambric bag is now uppermost. 
The performer draws up a portion of the centre of 
this, and offers it to the scissors. He then throws the 
handkerchief loosely over the left coat sleeve, the 
little bag lying upon it, with the cut side uppermost. 
The black cloth, visible through the hole just made, 
appears to be the coat sleeve, seen through the hand¬ 
kerchief. A little gentle friction applied to the hole 
enables the performer to palm off the little bag and 
to restore the handkerchief, uninjured, to its anxious 
‘owner. 

THE “MARVELLOUS METAMORPHOSIS” SILVER CYLINDER. 

The object of the ingenious piece of apparatus to 
which Messrs. Hamley give the above name is the 
transformation of a silk handkerchief, or handker¬ 
chiefs, into a flag. 

The visible apparatus for the trick consists (in ad¬ 
dition to a miniature Union Jack of silk) of a nickelled 
tube (see Fig. 159) four and one half inches in length by 
one and three eighths in diameter, closed by a cap, 
three quarters of an inch deep, at each end. 

With the principal tube is used, unknown to the 
spectators, an inner tube, a, two inches in length, just 
fitting within it. The end which in use is the upper 
one has the edge turned over slightly. This serves the 
double purpose of preventing the tube going too far in 
and of enabling the performer to palm it out again with 
ease, when desired. Both ends of the tube are open, 


Later Magic 


321 


C3 


but midway between them is fixed a little bag of black 
silk, as indicated by the dotted lines. 

The bottom of this bag may of course be pushed to 
either end at pleasure. 1 

The tube a is prepared for use by loading it, from the 
lower end, with the flag, which is pressed in as far as the 
little bag will permit. Thus loaded, it is 
vested, or otherwise so placed as to be in¬ 
stantly get-at-able. 

Thus provided, the performer offers the 
principal tube for inspection, and when this 
is given back, the two caps, inviting the 
holder to make quite sure that there are no 
false bottoms or other species of deception 
about them. While attention is thus called 
to the two caps, he takes the opportunity 
to slip a into one end of the principal tube. 

He next borrows a lady’s handkerchief, which 
he proceeds to place openly therein. First, 
however, in order, as he says, to prevent 
its coming out at the bottom, he places one 
of the caps on the lower end. The hand¬ 
kerchief, being now inserted at the top and 
pushed down with the wand, squeezes out the flag 
into the larger tube, itself remaining tightly packed 
in the little bag. 

The next step is to palm out the inner fake and to 
close the visible tube with the second cap. The tube is 
now placed on the table, or handed to a spectator, and 


Fig. 159. 


1 This arrangement has already been referred to. (See note on 
page 244.) The method of fixing the bag is in the present case 
extremely ingenious. The tube is made in two portions, screwed 
together, the edges of the bag being nipped between them. 

21 










322 


Later Magic 


being in due course opened, the lady’s handkerchief is 
found apparently transformed to a pretty flag; the 
actual handkerchief remaining in the performer’s pos¬ 
session, to be afterwards reproduced in any way he 
pleases. 

A HANDKERCHIEF CHANGED TO PAPER RIBBONS. 

This makes a very pretty finish to a handkerchief 
trick. The handkerchief used is rubbed between the 
hands, from which a stream of paper ribbons, yard 
upon yard, forthwith begins to flow. When the supply 
comes to an end the hands are shown empty, the hand¬ 
kerchief having entirely disappeared. 

This trick depends on the use of a special piece of 
apparatus, the different parts of which are depicted in 
Fig. 160. Here a is a handkerchief van¬ 
ishes of special form and construction. It 
is of thin brass, and in the shape of half 
an egg, closed at top, but having an open¬ 
ing, b, at the side, giving access to the in¬ 
terior. Round the upper edge is a metal 
band c , half an inch deep, designed for 
the reception of a coil of paper ribbon. 
Fitting tightly over this is a lid, d, to keep 
the coil in its place, with an opening in the 
centre through which the coil can be drawn out at 
pleasure. The inner end of the coil is inserted in the 
notch of a little peg, / (which is slit through two thirds 
of its length like a miniature clothes-peg), and there 
secured by passing a rubber ring over it. The peg, 
thus attached, is worked into the centre of the coil, 
and when the latter is in position, the lower end of 
the peg projects slightly, through the hole e, into the 





Fig. 160. 




Later Magic 


323 


interior of a. This latter is attached by its tapering 
end to a rubber pull, the exact arrangement of which 
may be left to the performer’s fancy. 1 

The working of the trick will need but little explana¬ 
tion. At the appropriate moment the performer gets 
the vanisher into his hands and works the handker¬ 
chief into it. The act of doing this forces out the peg, 
which falls out, drawing the end of the paper ribbon 
after it. By keeping the hands in motion, the coil is 
gradually paid out. When it is exhausted, the per¬ 
former extends the arms, and lets go the vanisher, 
leaving the hands empty. 

It is hardly necessary to remark that the paper rib¬ 
bon should be of the same colour as the handkerchief. 
The trick may likewise be performed with silk ribbon, 
with very pretty effect, but the coiling of the silk is a 
troublesome matter, whereas the paper coils may be 
purchased by the dozen, at an almost nominal price. 

A HANDKERCHIEF TRANSFORMED INTO PAPER 
SHAVINGS. 

This pretty little trick, which has one or two ele¬ 
ments of novelty, is the invention of a German wizard, 
Herr Camill Bihler. The following account of it is bor¬ 
rowed from the magical serial, Die Zauberwelt. 

The effect of the trick is as follows: After exhibiting 

1 For a pull of this kind, a very good plan is to have the rubber 
led through a metal or ivory ring (the latter for choice, as minimizing 
friction) sewn to the left side of the vest, at the waist, just where 
back and front meet. The free end of the elastic passes round the 
back, and is thence brought round the front and is fastened to one 
of the brace-buttons on the right side. The vanisher thus arranged 
is easily got at, and the pull works with just the right amount of 
freedom. 


324 


Later Magic 


a cartridge-paper cylinder, and showing that it is empty, 
the performer inserts a silk handkerchief into it and 
places it upright on a chair. He next fills a glass with 
paper cuttings, covers it with a handkerchief, and 
causes it to disappear. On lifting the paper cylinder, 
the handkerchief is no longer beneath it, the glass of 
paper shavings having taken its place. 

This, however, is but the first stage of the trick. 
Throwing aside the paper cylinder, the performer takes 
a piece of ordinary newspaper and fashions it into a 
cone, with which he covers the glass. When the cover¬ 
ing is again removed, the glass is still there, but the 
paper shavings have vanished, the handkerchief being 
found in their stead. 

The requirements for the trick are as under: 

1. An ordinary cigar-box (or other box of suitable 
size) filled with paper shavings. 

2. Two glass tumblers of cylindrical shape, alike in 
general appearance. One of them is, however, an 
ordinary tumbler, the other bottomless, as described 
at page 92. To this latter is adapted a pasteboard 
shape, closed at top, but open at bottom, after the man- 
er of the familiar “bran glass,” but covered with paper 
shavings instead of bran. The upper part of this shape 
has a projecting edge, to facilitate lifting it out of the 
glass. The two glasses must be of such a height that 
when either of them is placed behind the cigar-box it 
shall be hidden from view. 

3. The paper cylinder. This must be from six to 
seven inches high, and of such a diameter as to fit 
easily over either of the two glasses. This stands at 
the outset on the top of the cigar-box, behind which is 


Later Magic 325 

the bottomless glass containing the cardboard shape. 
The second glass stands in view beside the box. 

4. A small silk handkerchief. 

5. A larger handkerchief, double, with a disc of 
cardboard in the centre, corresponding in size with the 
top of the glass. 1 

The performer first calls attention to the paper cylin¬ 
der. Having shown unmistakably that it is empty, 
he places it upright on the table just behind the cigar- 
box; and in so doing, unknown to the spectators, 
passes it over the hidden glass. As the right hand does 
this, the left hand seizes the box, and a moment later 
brings it forward for inspection, together with the un¬ 
prepared glass. Leaving these in the hands of the 
spectators, he takes the handkerchief, rolls it into a 
ball, and picking up the paper cylinder with gentle 
pressure, so as to keep the concealed glass from slipping 
out, introduces the handkerchief openly beneath it 
(really into the pasteboard shell within the glass) and 
places the whole on a chair. 

Taking back the box and the visible glass from the 
spectators, he fills the glass with paper shavings; covers 
it with the double handkerchief, and places it on his 
table, which is provided with a servante. He makes 
believe to pick up and bring forward the glass thus 
covered, but in reality lowers the glass on to the ser¬ 
vante, and picks up the handkerchief only, kept ex¬ 
tended by the disc in its centre. Pronouncing the 
mystic “ Pass, ” he gives the handkerchief a shake. The 
glass has vanished. He lifts up the paper cylinder, 
and exhibits, in place of the silk handkerchief which 

1 There are various ways of arranging such a handkerchief. For 
one of the best, see Modern Magic , p. 370. 


3 2 6 


Later Magic 


was placed under it, the bottomless glass, apparently 
filled with paper shavings, and being ostensibly the 
same which has just disappeared from the larger hand¬ 
kerchief. The cylinder is shown to be empty and is 
thrown aside. 

The next step is to form the newspaper cone, which 
must be of such a size that when placed over the glass 
it shall just touch the upper edge of the latter. After 
forming the cone its lower edge should be cut straight 
with a pair of scissors. In order to achieve this satis¬ 
factorily, guide-marks in pencil should be made on the 
paper beforehand, this precaution greatly facilitating 
the formation of a cone of the right shape and size. 
The cone thus formed is placed over the glass. In lift¬ 
ing it off again the performer grasps it at such a height 
as to just clip the projecting edge of the paper shell, 
which is lifted with it, leaving the handkerchief visible 
in the glass in place of the supposed paper shavings. 

While all eyes are drawn to this new state of things, 
the shell is allowed to slip out on to the servante, and 
the paper cone is thrown carelessly down, with its 
mouth towards the spectators. 

To preclude the possibility of the handkerchief, from 
its lightness, being lifted out with the shell, the per¬ 
former is recommended, in rolling it up, secretly to roll 
up in it a five-shilling piece, or a disc of lead of corre¬ 
sponding size. With the handkerchief thus weighted, 
there is no fear of a contretemps in this particular. 

THE EGG AND HANDKERCHIEF TRICK (MODERN 
METHODS). 

Every reader is doubtless acquainted with the old 
“ egg and handkerchief” trick associated with the name 


Later Magic 


327 


of Colonel Stodare, 1 and consisting of an egg and a silk 
handkerchief (the former placed in a glass tumbler on 
the table, and the latter held in the hands of the per¬ 
former) being made to change places. Even in its 
original form, it is a clever trick, but the ingenuity of 
later inventors has greatly added to its effectiveness, 
one material improvement being the performance of 
the trick with real eggs, in place of the blown egg and 
metal shell which were used by Stodare. 

Apropos of artificial eggs, however, I may here pause 
to note two little improvements in this particular. The 
first is the use of ivorine (a form of celluloid) as the 
material for the egg. Eggs made of this substance are 
lighter, more easily palmed, and more natural in ap¬ 
pearance than the metal eggs. Further, having no 
enamel to wear off, they last longer. The other im¬ 
provement has relation to the hollow egg used for 
“ disappearing” a handkerchief, and consists in making 
the opening at the smaller end of the egg, instead of at 
the side. An egg thus made may be held between the 
second finger and thumb, and shown freely on all sides, 
the ball of the thumb concealing the opening. 

The following version of the trick affords a good ex¬ 
ample of one use of the egg thus constructed. 

d’alvini’s egg and handkerchief trick. 

In effect, this trick is as follows: The performer, 
having borrowed a lady’s handkerchief and laid it on a 
plate, professes to be about to pass it into an egg (a 
real one). In the course of his introductory remarks, 
however, he has the misfortune, while holding it over 
1 Modern Magic , p. 260. 


328 


Later Magic 


the plate, to drop the egg, which is naturally broken, 
the unfortunate handkerchief receiving the contents. 

After the usual apologies, and the assurance that 
he never (or hardly ever) had such an accident before, 
the performer consoles himself with the reflection that 
he has only reversed the intended effect. Instead of 
passing the handkerchief into the egg, he has passed 
the egg into the handkerchief, in which he gathers up 
the remains accordingly. He offers the handkerchief 
(with its contents) to the owner, but she naturally de¬ 
clines to receive it in such a condition. A happy 
thought strikes him. He is bound to produce a magical 
effect of some sort. He will place the handkerchief and 
smashed egg together in his pistol, and endeavour to 
catch them when it is fired. He accordingly fetches a 
pistol from the wing, loads it with the egg and handker¬ 
chief, and gets some one (either his stage assistant or a 
volunteer from the audience) to fire it at him from the 
opposite side of the stage, he meanwhile holding his 
closed hands aloft, as if to catch the articles in their 
flight. The pistol is fired. He opens his hands, look¬ 
ing first at one, then at the other, but both are empty. 
For a moment he looks dumfounded; then his face 
lights up again with renewed cheerfulness. From his 
mouth, screwed up as for whistling, he draws out the 
borrowed handkerchief, dry and clean, followed a mo¬ 
ment later by the egg, whole as at first. 

The secret lies primarily in the substitution of a 
dummy handkerchief for the borrowed one. This 
latter is vested, while the substitute is laid on the plate 
and receives the broken egg. When the performer re¬ 
tires to fetch his pistol he is only absent for a moment, 
but during that moment he slips the borrowed hand- 


Later Magic 


329 


kerchief into a small ivorine egg, with an opening at 
one end, as above described. This in turn is vested, 
and at a convenient opportunity, just before the instant 
of firing, is slipped into the mouth with the open end 
outwards. The production of the handkerchief is now 
an easy matter, and in showing the egg, which follows 
it, he has only to keep the opening covered, and no one 
will suspect that it is other than genuine. 

The experienced reader will doubtless have “ spotted ” 
the only practical difficulty of the trick, viz., to get the 
egg into the mouth at the right moment unobserved by 
the spectators. With a little ingenuity, however, this 
is easily overcome. As good a plan as any, perhaps, is 
to offer, under pretext of enhancing the effect of the 
trick, to be blindfolded while the shot is fired. This is 
done by the person who is to fire, with the performer’s 
own handkerchief. He himself folds it and raises it to 
his eyes, turning his back for a moment to the specta¬ 
tors as he offers the ends to be tied, and under cover 
of lifting the handkerchief to his eyes conveys the egg, 
which is ready palmed in his left hand, to his mouth. 
As from this point he is practically speechless till his 
mouth is again empty, it is well to arrange beforehand 
that the signal for the shot shall be his clapping his 
hands three times. 

The pistol used should be one of the improved kind 
now frequently met with, having a slide to conceal the 
soiled handkerchief after firing. 

THE EGG, HANDKERCHIEF, AND ONION. 

This is a very pretty little trick, but demands con¬ 
siderable address to work it neatly. 

The egg used in this case has an oval opening in one 


330 


Later Magic 


side, after the older fashion, and a loop of fine gut, large 
enough to receive the thumb, passed through a minute 
hole at one end of the opening. The egg is loaded with 
a red and a blue silk handkerchief, and at the outset is 
placed just within the opening of the performer’s waist¬ 
coat, on the left side, with the gut loop projecting. The 
opening of the egg should be turned away from the 
body. The only additional property is a small onion, 
of a size and shape convenient for palming. This is 
vested in the ordinary way. 

Thus prepared, the performer is ready to show the 
trick, the effect of which is as follows: After showing 
his hands, back and front, and drawing his sleeves up 
to the elbow, he asks if any gentleman can oblige him 
with an egg. There being, naturally, no response, he 
procures one himself from the bend of his right knee. 
Rolling this between his hands, it vanishes, leaving in 
its place a red silk handkerchief. Again the hands are 
brought together, and the handkerchief changes to a 
blue one. A moment later, and this too has vanished, 
the egg reappearing in its place. He offers this for ex¬ 
amination, but again it is transformed, the person 
holding out a hand to take it receiving instead an 
onion, while the egg has vanished altogether. 

The expert, knowing the preliminary arrangements, 
will readily conjecture the method of working. For the 
benefit of those less instructed, I will, however, briefly 
describe it. 

In showing the hands empty, after drawing up the 
sleeves the performer passes the right thumb into the 
gut loop, and thereby draws out the egg, which, if 
rightly placed at the outset within the vest, hangs 
with the opening against the palm of the hand. It is 


Later Magic 


33 1 


then an easy matter to produce it from behind the 
knee. The next step is to produce the red handker¬ 
chief; the egg, with the blue handkerchief remaining 
therein, resting, while this is shown, at the back of the 
right hand. The red handkerchief is then worked back 
into the egg, and the blue one shown, in the same way, 
in its place. This, too, is worked back again, and the 
egg shown for a moment in the palm, but immediately 
transferred to the left hand, the thumb being now with¬ 
drawn from the loop. While general attention is called 
to the egg in this hand, the right gets down the onion 
from the vest. The performer then makes believe to 
take the egg back into this hand, but really leaves it 
palmed in the left hand, and at the moment of offering 
the onion with the right, drops it into his profonde. 

THE VERY LATEST EGG AND HANDKERCHIEF TRICK. 

Last but not least among “egg and handkerchief” 
tricks, I may mention the following ingenious combina¬ 
tion, being one of the many ways in which the inventor, 
Mr. Williams, utilizes his clever “Multum in Parvo 
Vanisher,” described at page 67. 

The requirements are: 

1. The vanisher, as above. 

2. A small silk handkerchief. 

3. A hollow celluloid egg, not exceeding two inches 
in greatest length, with lateral opening. This is vested 
on performer’s left side. 

At starting, the handkerchief, folded up small, is in¬ 
serted in the clip of the vanisher, which latter is placed 
in position on the right hand. The performer begins 
by pulling up his sleeves and showing the hands empty; 


332 


Later Magic 


the clip and handkerchief being, for the moment, back- 
palmed. These are again brought to the front, and the 
backs of the hands shown. Bringing the right hand 
over the left, he drops the folded handkerchief into the 
latter (a pressure of the right thumb on the outer arm 
of the clip instantly releasing it). The handkerchief is 
gradually developed in the left hand. Crumpling it up, 
he throws it in the air, and catches it with the right. 
While the attention of the spectators is thus called to 
the handkerchief, he gets the egg from the vest into the 
left hand and palms it. Rubbing the handkerchief be¬ 
tween the hands with the circular movement described 
at page 277, he gradually works it into the egg, which 
he presently shows in its place, the handkerchief having 
disappeared. The hands are shown otherwise empty, 
the vanisher being again back-palmed when it is neces¬ 
sary to show the inside of the right hand. 

Under cover of further exhibiting the egg, he clips 
the jaws of the vanisher upon one of the longer edges of 
the opening in its side, under which conditions it lies 
just across the fingers, in the best possible position for 
back-palming. He back-palms it accordingly, and 
shows the hands empty, afterwards producing the egg, 
still engaged in the clip, from the pocket or from under 
the knee. 

He then brings the hands together, releases the egg 
from the clip, and works the handkerchief out of the 
egg, showing the handkerchief in the left hand and the 
egg in the right, the presence of the fake being masked 
by the egg, the opening in which lies just over it. 

The next step is to throw the handkerchief over the 
egg, exhibiting its shape beneath, and while it is thus 
covered to again attach the clip to it as before. As 


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333 


the performer removes the handkerchief, he back- 
palms the egg, which again appears to have vanished. 
Under cover of showing that the handkerchief is empty, 
he once more brings the egg to the front, and, taking 
the handkerchief in the same hand, places it in his 
pocket, thereby getting rid of both egg and vanisher. 

The above is the denouement adopted by Mr. Wil¬ 
liams. The trick is in any case an excellent one, but I 
am a little doubtful as to the artistic propriety of show¬ 
ing both the egg and the handkerchief at the same time. 
According to the theory of the trick, the egg is the 
handkerchief in a new shape, and though the spectators 
know well enough, if they had time to think about it, 
that it is not so, there is no need to sacrifice the magical 
hypothesis by showing the two together. There are 
many ways in which the trick might be brought to a 
conclusion, but none much better, in my own opinion, 
than, having once vanished and reproduced the egg, 
merely to “dematerialize it” in the old-fashioned way, 
by simple palming. The egg is transferred, appar¬ 
ently, from the right hand to the left. “Would you 
like to examine it, madam?” As the empty left hand 
makes the movement of offering it, the right drops it 
into the profonde. 

A COUPLE OF HANDKERCHIEFS TURNED INTO A SNAKE. 

This is scarcely a trick that is likely to be a general 
favourite. We have it on the authority of Bottom that 
“a lion among ladies is a most dreadful thing,” and I 
fancy that, to most ladies, a snake is scarcely less 
objectionable than a lion. The trick has a further 
drawback, in that it is the affair of a moment, and can¬ 
not well be made either the denouement of something 


334 


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which has preceded or the introduction to a more 
pleasing illusion. Still, for the sake of its ingenuity, it 
deserves a brief description. 

The secret lies practically in the construction of the 
snake, which is in fact a long bag of appropriate shape, 
made of silk of two colours; green to represent the back 
and yellow the belly. Just inside the larger end of this 
bag a metal ring is sewn, the silk being continued an 
inch or so beyond this, and fashioned above and below 
into an upper and lower jaw, made more imposing by 
being lined with red. The backbone consists of a very 
flexible steel spring, about three quarters of an inch in 
width, and corresponding in length with that of the 
snake. One end is fashioned so as to resemble a 
tongue, and also coloured red, to make it look more for¬ 
midable. In the opposite end are two or three small 
holes, by means of which it is sewn to the tail of the 
snake, on the inside. Two silk handkerchiefs, one 
green and one yellow, like the silk of which the snake is 
formed, are likewise sewn, each by one comer, to the 
inside of the tail. 

To prepare for the exhibition of the trick, the per¬ 
former peels the outer covering off the backbone, at the 
same time exposing the two handkerchiefs. The steel 
backbone he carefully works up his left sleeve, and by 
means of the grip afforded by the ring, holds the snake- 
skin, folded on itself, palmed in his left hand, the two 
handkerchiefs hanging down from it. Coming forward, 
he carelessly calls attention to these, showing that they 
are ordinary silk handkerchiefs, but carefully conceal¬ 
ing the fact that they are attached to anything in the 
hand. Having sufficiently exhibited them, he brings 
the hands together, and with the right hand gets hold 


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335 


of the tail of the snake. Still keeping with the left 
hand a firm grip of the ring, he draws the hands smartly 
apart. The effect is that the snake-skin is drawn out 
to its full length, the backbone and the two suspended 
handkerchiefs being simultaneously drawn inside it. 
It may now be grasped by the middle, and if well made, 
more particularly in regard to the steel backbone, may be 
made to move head and tail in very fair imitation of life. 

The method which was used by Hartz for producing a 
similar effect is different, but not less ingenious. The 
performer in this case comes forward with two small 
silk handkerchiefs, green and yellow, one in each hand, 
each held by one corner. After a little patter, he takes 
hold of the free end of each with the opposite hand and 
twists the two into a coil. There is a quick movement 
of the arms. The handkerchiefs have disappeared; 
and in place of them is a snake, though of an equally 
harmless character. 

The secret here lies in the fact that the handkerchief 
shown in the left hand is attached to the tail of the 
snake, which is hidden in the left sleeve. The hand¬ 
kerchief shown in the right hand is attached to a pull, 
on the Buatier principle, in the right sleeve. The use 
of the pull causes the twisted handkerchiefs to pass up 
the right sleeve; and they in turn draw the snake out 
of the opposite sleeve. 

THE DANCING HANDKERCHIEF. 

There are two forms of this trick, one of the “ parlour- 
magic” order, the other suitable for stage presentation. 
The first is merely a new version of the old trick of the 
“dancing sailor.” The performer attaches a piece of 


Later Magic 


fine black silk thread, about sixteen inches in length, 
from leg to leg of his trousers, just below the knee. 
The only additional piece of apparatus necessary is a 
sharp black pin bent into the shape of an S hook. This 
may be hooked till needed into any convenient part of 
the performer’s clothing. 

Borrowing a handkerchief, he ties a loose knot in one 
comer, and in so doing manages to hook the pin into it, 
point upwards , the necessary consequence being that 
the opposite bend has its extremity pointing downwards. 
The handkerchief thus treated represents an elementary 
sort of doll, the knot forming the head. Taking a seat 
facing the company, with his legs apart, he announces 
that the doll is about to dance. He accordingly places 
it in position two or three times, but each time, as 
might be expected, it falls to the ground. After a 
moment or two of pretended embarrassment, he dis¬ 
covers the reason. The doll will not dance without 
music, and some one is accordingly requested to play 
some lively measure on the piano. Again he places the 
doll in position, but this time with the hook over the 
thread, and now, when the music commences, it no 
longer falls, but begins to wriggle about after a weird 
and uncanny fashion, the necessary movement of the 
knees being covered by the performer’s beating time 
upon them with his hands. When the performance 
has lasted long enough, he picks up the handkerchief 
by the corner projecting above the knot, and in handing 
it back to the owner removes the bent pin, after which 
the secret is safe from detection. 

In the stage form of the trick a black silk thread 
is also used, but the arrangements are a little more 


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337 


elaborate. The thread crosses the stage from side to 
side, lying till needed upon the floor. During the per¬ 
formance of the trick each end is held by an assistant. 
At starting, the handkerchief, which may or may not 
be a borrowed one, but should be fairly large, is laid 
upon the performer’s table, behind which he passes 
while the thread is still on the ground. The moment 
he has done so, the thread is raised horizontally to the 
height of a foot or so above the table. Standing behind 
it, he begins to prepare the handkerchief, the first step 
being to tie a small knot in each of two diagonally oppo¬ 
site corners. He then ties a loose double knot in one of 
the other corners (the object of tying twice over being 
to take up a larger portion of the handkerchief). This 
knot is tied round the horizontal thread. Finally, he 
tucks the fourth corner into the knot last made, the 
result being a grotesque sort of puppet, with head and 
arms complete. 1 

During the above process, the assistants at the wings, 
the moment the principal knot is tied, slacken the 
thread, and then move forward as far as circumstances 
permit, so that the thread, when taut, shall clear the 
table. When the figure is complete, the performer be¬ 
gins to make mesmeric passes over it, announcing that 
he intends to make it dance. At this stage, a simul¬ 
taneous pull, followed by an immediate slackening of 
the thread, jerks the handkerchief off the table on to 
the floor. “Oh! you want to escape, do you? but you 
won’t do it. If you won’t dance on the table, you shall 
do so on the floor,” says the performer. As he says 

1 Some performers tie the large knot (representing the head) 
only, letting the remainder of the handkerchief hang loose. This 
is a matter which may be left to individual taste. 

22 


338 


Later Magic 


this, he moves forward and steps over the thread, so as 
to get in front of it. He waves his wand horizontally 
over the handkerchief, and after a few moments it 
is seen to be slightly agitated. Presently it begins 
to stand erect, and finally, after a fashion, to dance, 
actuated by the thread in the hands of the assistants, 
who should have duly practised their task, considerable 
skill being required to perform it properly. 

An additional effect may be got by placing a chair 
over the handkerchief while still dancing. This, of 
course, makes not the least difference to its performance; 
while it effectually negatives the idea which naturally 
occurs to the minds of most spectators, that the dancing 
figure is actuated by a thread from above. The possi¬ 
bility of using a horizontal thread is much less likely to 
suggest itself. 

When the dance has lasted long enough, the per¬ 
former picks up the handkerchief and brings it forward, 
still knotted, and, if borrowed, returns it to the owner. 
First, however, one of the assistants releases his end of 
the thread, which is then rapidly drawn away through the 
knot by the other, leaving no trace of the modus operandi. 

It is a commonplace among conjurers that a trick is 
what the performer makes it. The present is a good 
example. Clumsily and badly performed, its effect 
will be nil. Artistically led up to (say, by the trick of 
the rapping wand, described at page 113, or some other 
trick of a quasi-spiritualistic kind) and worked with ad¬ 
dress, it becomes a first-class illusion. 

RIGHT AND LEFT. 

To get the maximum of effect out of this very pretty 
trick, which is a slightly altered version of a German 


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339 


original, it should follow some other in which two silk 
handkerchiefs of different colours, say red and blue, 
have been produced. A couple of glass test tubes (such 
as are used by chemists), about six inches in length, are 
lying on the performer’s table. Taking one in each 
hand, he shows that there is “no deception” about 
them, and invites the audience to decide which of the 
two handkerchiefs he shall put into each tube. There 
is no equivoque as to “right” or “ left,” but free choice 
is really given. In accordance with the decision, he 
stuffs the red handkerchief into the one tube and the 
blue one into the other. Taking a tube in each hand, 
he waves them in the air, pronouncing the mystic 
“ Pass.” The two handkerchiefs visibly change places. 
They are actually seen to cross in the air, each passing 
into the opposite tube. 

Well executed, the trick appears like a genuine mira¬ 
cle, but, as is frequently the case with the best illu¬ 
sions, the explanation is extremely simple,—when you 
know it. In the centre of the closed end of each tube a 
minute hole has been blown, special care being taken 
to leave a perfectly rounded edge. Through each of 
these two holes is threaded one end of a piece of fine 
but strong black thread, about a yard and a quarter in 
length, 1 with a loop at each end. The two tubes are 
laid on the table with their mouths towards the spec¬ 
tators, and with the thread arranged as shown in Fig. 
161, wherein a and b represent the two tubes, and a b 
the two loops respectively appertaining to them. It 
will be observed that the two threads are crossed, so 

1 The precise length must be determined by actual experiment, as 
it will vary a little, according to the length of arm and breadth of 
chest of the performer. 


340 


Later Magic 


34 /?£ 




that the loop a is brought opposite the mouth of the 
tube b, and vice versa. In exhibiting the tubes, the 
performer takes care so to handle them as not to disturb 
the arrangement of the thread. 

We will suppose that the audience decide that the red 
handkerchief is to be placed in tube b. Standing be¬ 
hind the point c, and laying the handkerchief squarely 
in front of him, the performer folds it longitudinally 



two or three times, and doubling the roll thus made in 
half, finally pushes it ends downwards into the tube. In 
the course of the folding, however, he has secretly passed 
the roll as far as its centre through the loop a. He now 
folds the blue handkerchief after the same fashion, 
passing it through 6, and packs it into the other tube. 
This done, he takes b in the right hand and a in the 
left, and moves away from the table. Holding his 
arms straight out before him, with the mouths of the 
tubes pointing to the spectators, he makes an upward 










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345 


seams a b and a c. To this wire, at the angle, is soldered 
the necessary hook for suspending the bag behind the 
table. 

The advantage of this arrangement is that the bag 
can be opened by pressure on these wires, however high 
up, and that direct pressure on the ends of the mouth 
is no longer needed. By holding the apex of the bag 
within the handkerchief between the first and second 
\ fingers, and pressing the wire arms together with the 
third finger and thumb, the performer can produce the 
desired result with one hand only. 

There is a further speciality in the arrangement of the 
bonbons. In filling the bag half a dozen of large size, 
such as sugared almonds or chocolate creams, are first 
inserted, then a dozen rather smaller, and on these a 
dozen smaller still, the space finally left vacant being 
filled with very small sweets, say of the caraway com¬ 
fit order. A gentle pressure on the upper part of the 
bag opens the mouth wide enough to let these last 
escape. A second pressure, opening it a little wider, 
gives passage to the next larger kind, and so on, the 
gradual increase in size adding considerably to the 
effect of the trick. 

A POSTSCRIPT. 

I cannot better conclude this lengthy chapter than 
by briefly noticing one or two little “wrinkles” kindly 
communicated to me by one of the most promising 
wizards of the younger generation, Mr. Maurice Gar¬ 
land. Mr. Garland is essentially a sleight-of-hand con¬ 
jurer, and prides himself on giving his show with the 
irreducible minimum of apparatus. All he needs for 
his performance can usually be carried in his pockets. 


Later Magic 


346 

To that end, he has devoted much thought and in¬ 
genuity to the invention of small and portable appli¬ 
ances, and to the effective use of such contrivances. 

One of these is an ordinary “ping-pong” ball, in 
which has been cut, with a sharp knife, a circular hole 
an inch in diameter. This forms a capital handkerchief 
fake, being at once light, compact, and easily palmed. 
One of Mr. Garland’s special uses for it is to change a 
handkerchief to an egg. His method is as follows: 
The ball is held in the closed left hand, with the opening 
towards the thumb, after the manner of the “finger” 
in the trick described at page 213. The handkerchief is 
thrown over the same hand, and is then worked into the 
ball by means of successive “pokes” with the fore¬ 
finger of the right hand, in which is concealed the egg; 
the use of the forefinger as above allowing the other 
fingers to curl round the silk in a perfectly natural way 
without suggesting that there is anything concealed in 
the hand. When the egg is fairly packed into the ball, 
the performer observes (as if he had overheard some 
remark to that effect): “ You think the handkerchief is 
not in my hand? You are mistaken, for here it is.” 
So saying, he turns the hand thumb upwards, in so 
doing turning round the ball in the hand so as to bring 
the opening downwards, and draws the handkerchief 
out of the hand from the under side. Once more 
throwing the handkerchief over the left hand, he works 
the ball round again within the hand and pokes the 
handkerchief into it as before. When it is fully worked 
in, he brings the hands together, passes the egg over the 
ball, and exhibits it in the right hand at the tips of the 
fingers, the ball taking its place in the palm. 

It is quite possible that some one, possessing that 


Later Magic 


347 


“little knowledge” which is proverbially dangerous, may 
ask to examine the egg; expecting to find that it is one 
of the hollow variety familiar to conjurers, and that the 
performer will be made more or less uncomfortable by 
the request. To his surprise, the egg is handed to him 
with a genial smile, and his amiable design of putting 
the performer “ in a hole ’ ’ merely affords fresh evidence 
of the genuineness of the transformation. 

By the addition of a loop, two and a half inches long, 
of silk or fine gut, attached to the ball on the side 
remote from the opening, both the palms and the backs 
of the hands can be shown, though the fake is in posi¬ 
tion for use. For this purpose the loop is passed over 
the left thumb. The palms are first shown, the ball in 
this case lying behind the hand, close to the wrist. The 
hands are then turned over and the backs shown, the 
ball now hanging down on the inside of the right hand. 
The hands being now brought together, the fake is 
available for the production or disappearance of a 
handkerchief, as the case may require. 

Another specialty of Mr. Maurice Garland is as fol¬ 
lows: A silk handkerchief and an egg are shown to¬ 
gether in the right hand. The egg is tossed in the air, 
and caught again, but the handkerchief has vanished. 
This pretty vanish is worked by means of a thread pull, 
drawn by the left hand at the same moment when the 
egg is thrown in the air. As will be seen, the method 
is old, but the effect produced is none the less a genuine 
novelty. 

Another instantaneous “vanish” for a handkerchief 
is independent of any pull or other mechanical contriv¬ 
ance. The performer takes the handkerchief by one 


34§ 


Later Magic 


corner in the right hand, and standing with the same 
side towards the spectators, makes a feint of throwing it 
into the air, somewhat towards the left side. This 
movement is thrice repeated, with the words, “One, 
two, three.’* At the word “three,” the handkerchief 
disappears, and the hand is seen empty. As a matter 
of fact the missing mouchoir is deposited, at the com¬ 
mencement of the last upward throw, between the coat 
and vest on the left side, the left hand grasping the 
lapel of the coat and opening it slightly in order to 
facilitate the introduction. 

Baldly described in print, it would seem as if even a 
child could not be taken in by so simple a device, but 
in the hands of Mr. Garland it produces a complete 
illusion. 


CHAPTER VIII. 


FLAG TRICKS. 

C LOSELY akin to the subject of handkerchief tricks 
is that of “flag” tricks; indeed, of late, such a 
trick, in some form or other, seems to be regarded as 
the natural finish of a handkerchief trick, the hand¬ 
kerchiefs produced, or some of them, being made by 
way of climax to blend their colours in the form of a 
flag. In many instances, however, flag production is 
exhibited as an independent trick. 

The oldest form of the feat is that described in 
Modern Magic (page 432), wherein from a couple of 
small silken flags are produced an immense number of 
paper flags of like dimensions. One of the first im¬ 
provements made in the trick was the substitution of 
small pieces of tissue paper—red, white, and blue—for the 
two silk flags. This is a more logical commencement, 
the production of paper from paper being more natural 
than that of paper from silk. 

The next point to which the ingenuity of conjurers 
was directed was the disposal of the flags in readiness 
for production. The genial wizard, Charles Bertram, 
who was one of the first to make the trick his own, and 
who presents it with unsurpassable ease and finish, has 
disclosed in his book, Isn't It Wonderful! the details of 
his working. His flags, which are about three inches 


349 


350 


Later Maf 


long by two in width, are rolled p< ts of a gross 
each, wrapped in black tissue paper; and one such 
packet is bestowed behind the lapel of the coat on 
each side, hitched on to the end of an upturned pin. 
As the material for the intended flag-factory, three 
pieces of tissue paper, of different colours, and about 
twelve inches square, are exhibited. These are handed 
for examination, and taken back one by one. When 
two have been returned, they are held, one upon an¬ 
other, in the right hand, with the second finger in front , 
the other fingers being concealed behind, next the 
body. As the performer leans forward to take (with the 
left hand) the third paper from the person who has been 
examining it, the right hand rests for a moment on the 
lapel of the coat, and the little packet on that side 
is lifted off the pin between the thumb and the first 
and second fingers. The hands being brought to¬ 
gether, the little packet is opened behind the three 
papers, and, under cover of the gradual appearance of 
the flags, the papers, including the black wrapper, are 
rolled up tightly and palmed in the right hand. 

Bertram’s next step is to reproduce the three coloured 
pieces of paper, the black piece, compressed as small as 
possible, being allowed to fall to the ground among the 
flags. 1 The performer then gets possession, in the same 
way as before, of the second packet, and develops it in 
like manner. The trick is brought to a conclusion by 
the production of a large silk flag, which, folded so as to 

1 With all due respect to such a master of the art as Bertram, I 
venture to think that the reproduction of the three papers is a mis¬ 
take, the more plausible theory of the trick being that they have 
formed the material of the flags produced. The second packet of 
. flags can be got into the left hand with equal ease under cover of 
the production of the last dozen or so of the first packet. 


35 1 


Later Magic 

open out instantly and freely, is deposited either in a 
loading pocket under the breast of the coat, or inside 
the opening of the vest, at the pleasure of the performer. 
This is got into the hands while they are still full of the 
small flags, and while the large flag is spread in front of 
the body, the performer has ample opportunity to slip 
the pieces of tissue paper and the second wrapper into 
one of his pockets. 

FLAGS AND PAPER SHAVINGS. 

In another version of the trick last described, the per¬ 
former, when he first exhibits the three pieces of tissue 
paper, has a ball of tightly compressed paper shavings 
of corresponding colours, held together by strips of 
similarly coloured paper, already palmed in one hand. 
Rolling the three papers first shown into a ball, he 
palms this, exhibiting in place of it the ball of paper 
shavings. Showing this ball in the left hand, he with 
the right hand takes a fan from an inner breast pocket 
on the left side, and in so doing leaves the crumpled 
papers in the pocket. 1 He then begins to fan the ball, 
and under cover of gently moving it about, breaks the 
encircling strips, and allows the paper shavings to ex¬ 
pand, which they do very freely. The fan may now 
be laid aside and the shavings developed between the 
hands. Under cover of their rapid increase it is an 
easy matter to get a bundle of small paper flags from 
under the vest. Presently flags are seen to appear 
instead of oaper shavings. Those first produced are 
a '. all, like the paper shavings, on the floor, but 

•rmers pick up the fan from the table, and in so doing 
di . • pap :<*s on the servante. 


352 


Later Magic 


the performer bethinks himself that this will create 
trouble in collecting them afterwards. Holding the 
flags in one hand, he picks up with the other a tray 
which is placed in readiness somewhere close at hand, 
and in so doing gets into the hand a second packet of 
flags, which is attached, by wax or otherwise, just 
under the hinder edge of the tray. He places the tray 
on a chair and proceeds to develop these flags, letting 
them fall on the tray. A few, however, find their way 
to the ground. He stoops to pick them up, and as he 
drops them on the tray rests his disengaged hand, with 
a perfectly natural movement, on the back of the chair. 
In the moment during which the hand so rests another 
bundle of flags is palmed from behind the chair. 

The performer may further elaborate the trick, if he 
so desires, by having additional supplies concealed upon 
his own person, but save in the case of producing 
larger and larger flags, to which I shall presently 
advert, three bundles should be amply sufficient. 

Another expedient, where the performer employs an 
assistant, is to make him bring forward the tray, having 
attached to his back by a bent pin another packet of 
flags, which the performer, in the act of dropping the 
last of the visible flags on the tray, can secure without 
difficulty. 

FLAGS CONVERTED INTO SILKEN STREAMERS. 

A pretty finish to a flag trick is to throw, apparently, 
the last of the flags towards the audience; but instead 
of flags, three long streamers, of corresponding colours, 
shoot out towards them. To produce this effect, three 
pieces of differently coloured silk ribbon, three yards 
long by half an inch wide, are sewn by one end to a two- 


Later Magic 


353 


inch square of any stiff material, say a piece of sole 
leather. To the free end of each is attached a little 
piece of sheet lead half an inch square. Each piece of 
ribbon is then rolled up (weighted end first, so that the 
lead is in the middle of the coil) and the whole kept in 
position by a strip of paper, which is torn off at the 
right moment. The square of leather is gripped by the 
palm, and if a throwing movement in the direction of 
the spectators be then made, the little weight in the 
centre will cause each coil to unroll itself and the 
ribbons to shoot out over their heads. The performer 
gathers them in; coiling them in long loops over his left 
hand, and under cover of so doing gets into his hand, 
for subsequent production, a packet of considerably 
larger flags then any previously produced. These last 
may be six inches by four, or even larger, and mounted 
fan-fashion, that is to say, the sticks are all fastened 
together; closely at bottom (either by means of a rivet 
or of a piece of tape to which they are sewn); less 
closely a little higher up, by means of thread, so that 
they cannot diverge beyond a certain uniform distance. 
The fan is kept closed till needed by means of a strip of 
paper pasted round it. 

Some performers further elaborate the trick by pro¬ 
ducing three or four or even more such “fans” in suc¬ 
cession ; each consisting of flags a little larger than the 
one that preceded it. A series of these held in front of 
the performer—the small flags to the front and the 
larger ones behind—produces a very pretty effect. 

THE PRODUCTION OF FLAGS ON STAVES COMPLETE. 

The small flags, produced as above described, all 

have staves of proportional size. The large silk flags, 
23 


354 


Later Magic 


where used, were until recently produced with¬ 
out staves. Up-to-date performers are, however, 
not content with this, but produce each 
flag on a rigid staff, in some instances 
six feet long, or even more. The reader 
will naturally wonder how a staff of such 
a length (or indeed a couple, for these 
large flags are usually produced in pairs) 
can be concealed about the person of 
the performer. The secret lies in the 
fact that the staves are made on the 
telescopic principle, so that when closed 
they occupy a comparatively small space. 
Though, however, the principle is the 
same, the staves made vary a good deal 
in detail, and consequently in trust¬ 
worthiness. I cannot do better than 
describe those of the pattern supplied 
by Messrs. Hamley, which, for finish and 
general effectiveness, are the best I have 
yet seen. 

The staff for a flag three feet square 
is, when extended, a little over four feet 
long. The “telescope’’ consists of five 
brass tubes, sliding one over the other. 1 
Four of these are each ten inches in 
length; the fifth and innermost being 
inches, and being surmounted at the 
This inner tube (see Fig. 



Fig.163. 

thirteen 
top by a brass knob. 


4J 

Fig. 

164. 

163) 


terminates at its opposite end in a little conical stud 


1 The staff from which the diagrams are taken was designed to 
carry a somewhat larger flag, and, as will be observed, has six tubes 
instead of five. There is no other difference of construction. 












Later Magic 


355 


which, when the “telescope” is closed, engages itself 
in a wire loop at the bottom, but is again freed when 
desired by pressure on the thumb-piece shown at the 
side. The object of this arrangement is to prevent 
the telescopic tube opening out prematurely. To make 
it extend itself, the performer grasps the outer tube 
at bottom, presses the thumb-piece, and gives the tube 
a semicircular swing with the arm, when centrifugal 
force causes each of the inner tubes to fly out to 
its full extent, and the staff assumes the appearance 
depicted in Fig. 164. 

It should be mentioned that each of the tubes is made 
very slightly smaller at its upper end and larger at its 
lower end. The difference is so minute as not to be 
perceptible to the eye, but the arrangement serves the 
double purpose of preventing the sections coming 
apart and of keeping the staff extended after it has 
been once developed; the base of each tube wedging 
itself into the upper end of the next. The staff above 
described, unlike most others for the same purpose, 
may after production be left standing upright without 
any fear of its collapsing. 

At the upper end of the smallest tube there is a 
minute hole, and at the upper end of each of the next 
four tubes a little eyelet. To these one edge of the 
flag is secured, the final result being, when the flag is 
unfurled, as depicted in Fig. 165. 

To prepare the flag thus mounted for use in the trick, 
the telescope arrangement is closed, and the flag is 
folded in accordion pleats, first lengthwise, then cross¬ 
wise, till it forms a small and compact package. 

Thus arranged, flag and staff are placed in an ap¬ 
propriately shaped breast - pocket inside the coat. 


35 6 


Later Magic 


Reaching into this with the opposite hand, under cover 
of the flags already produced, and taking a firm hold of 



what may be called the handle end of the staff, the per¬ 
former brings it out with a semicircular outward swing, 
when flag and staff at once expand to their full dimen- 

















357 


Later Magic 

sions. Where two flags are to be produced both breast 
pockets are loaded accordingly, the right hand pro¬ 
ducing the left-hand flag, and vice versa. 

The above is, I believe, the most general arrange¬ 
ment, but there is considerable difference among per¬ 
formers as to the mode of concealment about the person. 
Stillwell, the well-known American performer, who 
makes the production of two large flags the climax of 
his “Handkerchief Act,” bestows them in pockets in¬ 
side the front of his vest, the upper ends of the staves 
pointing downwards. 1 

THE FLAG AND WORSTED BALL. 

This is an improved and more up-to-date version of 
an ingenious but somewhat crude trick described in one 
of the early numbers of the magical serial, Mahatma. 

The performer having produced and used in the 
course of his performance a small silk flag, bethinks 
himself what further use he can make of it. Intro¬ 
ducing, magically or otherwise, a worsted ball about 

1 My ingenious correspondent, Mr. C. O. Williams, places the 
butt of each flag-staff in one of the ordinary vest pockets, the flag 
itself, duly folded, lying under the coat, against the front of the 
shoulder. The advantages of this simple arrangement are so 
obvious that it seems extraordinary no one should have hit on it 
before, but I am not aware that any one has done so. 

With the flags disposed in this manner the “locking” arrange¬ 
ment at the foot of the butt becomes unnecessary. 

Mr. David Devant, who produces the biggest flags I have yet 
seen (measuring in fact 6 ft. 4 in. by 6 ft. 2 in., with staves 6 ft. 6 
in. long), gets them, under cover of three small flags only 24 inches 
by 18, from a central well in a table of the kind described in Chap¬ 
ter III. The effect can only be described by the German word, 
Kolossal! Our own nearest equivalent, “ immense,” is quite in¬ 
adequate to express it. 


358 


Later Magic 


two inches in diameter, he places this in a covered glass 
vase, which is left in full view. He then exhibits an 
ordinary tumbler. Over this he drops a cardboard 
cylinder, eight inches high, and of such diameter as to 
go easily over the glass. Into the glass, thus screened, 
he drops the silk handkerchief. 

Nothing could be fairer in appearance; and yet at 
his command the two articles change places. On the 
paper cylinder being removed, the worsted ball is found 
in the tumbler, while the handkerchief has 
taken its place in the covered vase. 

To prepare for the trick, a duplicate silk 
handkerchief is packed into as small a com¬ 
pass as possible, and round it is rolled worsted 
till it forms a ball of the desired dimensions. 
To the outer end of the worsted is attached 
the tongue portion of a little cylindrical clasp, 
or “snap,” such as is used to connect the 
ends of a necklace. (See Fig. 166.) The 
barrel portion of such snap is attached to the 
end of a thin silk line, which is led away through 
eyelets in one of the hinder legs of the performer’s 
table (or through the leg) to the hand of an assistant 
behind the scenes. The barrel itself is stuck, mouth 
upwards, in a little hole made for the purpose in the 
surface of the table. The vase used (see Fig. 167) may 
be purchased at any glass warehouse. It is of the 
kind used for holding preserves at the breakfast table, 
and having a horseshoe-shaped opening at the edge 
of the lid for the accommodation of the spoon. 

When the ball has been produced, in one or other of 
the score of ways known to every conjurer, it is dropped 
into the vase. In placing the lid on, the performer 


Fig. 166. 





359 


Later Magic 


brings the loose end of the wool out through the open¬ 
ing in the lid, and while moving the vase a little for¬ 
ward with the one hand, with the other inserts the 
little “tongue” into the mouth of the snap, which he 
then lifts out of its hole. The moment the connection 
is thus made, the assistant begins to “wind up” at his 
end. The result is that the ball is gradually unwound, 
and the worsted drawn clean away, while the handker¬ 
chief, released from confinement, spreads itself in the 
glass vase. 



Fig. 167. 


The latter should be of a cut or moulded pattern, in 
pretty strong relief, in which case the movement of the 
ball will not be visible through it. 

The ball which subsequently appears in the tumbler 
is of the “spring” or “multiplying” kind, with the 
necessary amount of worsted wound over it, and kept in 
place by a few stitches. The last yard and a half, or so, 
for greater naturalness should be simply wound. Such 
a ball can of course be pressed quite flat, and in this 
condition it is secured to the inside of the cardboard 
cylinder. For this purpose a piece of stiffish brass wire 
six or seven inches in length is first bent into the shape 


36 ° 


Later Magic 


of a lady’s hair pin, and then doubled on itself, as a in 
Fig. 168. This is slipped over the edge of the cylinder, 
with the longer ends inside, and under 
these longer ends the ball is packed, 
in a flattened condition, as shown in 
the diagram (representing a sectional 
view of the cylinder, with the ball in 
position). In picking up the cylin¬ 
der, the performer does so with the 
fingers inside, covering the flattened 
ball, and the thumb outside, conceal¬ 
ing the clip. Thus held, the cylinder 
can be shown inside and out, being apparently quite 
empty. 

In placing the cylinder over the glass, the performer 
pushes down the ball far enough to free it from the clip, 
when it naturally drops into the glass and assumes its 
normal shape. The clip, which is left in the hand, is 
got rid of in the act of picking up the handkerchief in 
order to place it (apparently) in the glass. Various 
ways of doing this might be suggested, but nothing is 
much better than to fold it small, and, in apparently 
taking it in one hand, leave it clipped between the first 
and second fingers of the other. The closed thumb 
and fingers of the hand which ostensibly holds it are 
then lowered for a moment into the top of the cylinder, 
moved apart, and brought up empty. 

The trick is now done. The performer takes off the 
cylinder and rolls the ball out upon the table. He 
then uncovers the glass vase and shows that the hand¬ 
kerchief has passed therein. If he is using such a 
table as described in Chapter III., he may utilize it 
to substitute a solid ball for the trick ball, after which 


a 



Fig. i68. 






Later Magic 361 

the whole of the articles employed can be offered for 
examination. 

DEVANT’s “TRANSVAAL FLAG ” TRICK . 1 

I have seen two or three explanations of this very 
popular trick, but they have without exception been 
incorrect in many particulars. The true explana¬ 
tion, for which I am indebted to the inventor him¬ 
self, is both simpler and neater than any of the fancy 
versions. 

The trick is introduced as an exhibition of swords¬ 
manship, the performer professing to be about to sever 
with one cut the handkerchief, merely laid on the blade 
of the sword; a feat which the great Saladin himself 
(see Ivankoe) regarded as a notable achievement. In 
order to hurt nobody’s feelings (or nobody’s near 
enough to be worth considering) he selects the Boer flag 
for the experiment. The Boer flag, I may mention, con¬ 
sists (or I should rather say, did consist) of horizontal 
stripes of red, white, and blue, with a vertical strip of 
green on the side next the flagstaff. 

The flag used is of silk, and in size about eighteen 
inches by twelve. The sword is of the “ dress’’ variety, 
the lack of a cutting edge being, for the purpose of the 
trick, immaterial. After a little fancy sword exercise, 
the performer announces that he is going to try whether 
he can cut the Boer flag in half. He lays the flag across 

1 When this trick was first produced, the Boers were “the enemy,” 
and their flag was fair game for an entertainer to poke fun at. 
Since that time circumstances have altered, and it is probable that 
Mr. Devant may in future performances think it well to substitute 
some other flag, but I describe the trick under the name and with 
the mise en sc&ne with which it has become identified. 


3 62 


Later Magic 


the blade, close to the hilt, one half hanging down on 
either side, as is done in the case of the genuine cutting 
feat. The left hand rests upon the hip, a recognized 
broadsword position. Drawing back the sword for a 
moment, as if to get greater swing, he makes a horiz¬ 
ontal outward slash with it. The spectators naturally 
expect to see the flag fall to the ground in two portions, 
but it has disappeared altogether. Where has it gone? 
The performer himself professes ignorance, but a mo¬ 
ment later, on turning his back, it is seen hanging down 
in three pieces from under his coat-collar. Removing 
these, he rolls them up and hands them to a lady to 
hold. On her again unfolding them the colours have re¬ 
combined, but in a new form, the flag being now the 
Union Jack. The performer hears, or pretends to hear, 
a remark that it is rather small. He retorts that the 
feat is all the greater, it being no easy matter to make 
the British flag look small; but in any case the defect 
can be easily remedied. He rolls the small flag be¬ 
tween his hands. When it is again spread out, it is still 
the Union Jack, but now of imposing dimensions, 
measuring twenty-six inches by thirty. 

The sword is unprepared, save that a little notch is 
filed in the guard in such a position as to be easily 
covered with the thumb. The object of this will 
presently appear. The disappearance of the handker¬ 
chief is effected by means of a pull, but arranged after 
a special fashion. It consists of a black silk cord, 
passing up the right sleeve, and terminating, at the 
wrist end, in a swivel like that of a watch-chain. To 
keep this in position till wanted, a loop of fine string is 
engaged in the swivel and passed over the wrist-stud. 
Before the performer brings forward the sword, this 


Later Magic 


363 


loop is removed and the swivel is slipped into the little 
notch in the guard, before mentioned, where it is se¬ 
cured by the pressure of the thumb. 

From the armpit the cord passes behind the back and 
through a metal ring, one and one half inches in diame¬ 
ter, attached to the central point of the performer’s sus¬ 
penders, and thence down the back, terminating in a 
small cylindrical weight, which rests at the outset in a 
hip pocket, opening vertically in the trousers on the 
left side. 

Midway in one of the longer sides of the flag a little 
ring is sewn, and when the handkerchief is laid on the 
sword-blade this is slipped into the swivel-hook, thereby 
making the necessary connection. 

When the performer places his hand on the hip he 
gets hold of the weight, takes it out of the pocket, and 
lets it temporarily hang loose, in which condition it 
works freely up and down, allowing the performer per¬ 
fect liberty of action and enabling him to draw the 
flag, even after it has been attached to the pull, along 
the blade as far as the centre, proving, apparently, that 
it is not attached in any way. When he desires to 
“vanish” the flag, he gets hold of the weight again 
(hand still on hip) and as he makes his slash with the 
sword, gives the cord a smart pull, when the flag flies 
up the sleeve, resting in the centre of the back. The 
weight is then dropped into the pochette on the same 
side. 

The three strips of silk which are to appear on the 
performer’s back are laid one upon another. The 
comers of one end of the combined strip are turned 
down so as to diminish its width, and in that condition 
the end, to the extent of an inch, is tucked under a 


364 


Later Magic 


three-inch length of black elastic, sewn horizontally 
under the coat-collar. The remaining portion of the 
silk is then rolled up and made to rest under the collar. 
When the performer, having “vanished” the flag, hands 
the sword for examination, he grasps the lapels of his 
coat with both hands, as if merely resettling it, thereby 
lifting the collar and allowing the loose ends to stream 
down his back, whence, with a jerk, he afterwards dis¬ 
lodges them. 

The rest of the trick is on comparatively familiar lines, 
though there are one or two little points of detail which 
are worthy of attention. The small Union Jack is 
twisted loosely ropewise, and then coiled tightly round 
the finger, the outer end being tucked into the centre. 
(Arranged after this fashion, the mere act of rolling it 
between the hands causes it to unfold instantly.) Thus 
prepared, the flag is placed inside the vest, on the left 
side. The large Union Jack is made into a sort of 
“bun” by rolling the corners towards the centre, and is 
also placed inside the vest, but in the middle. 

When the performer gets down the strips from his 
back he holds them before him, breast-high, and under 
cover of these has no difficulty in getting the small flag 
from the vest into the right hand. Folding up the 
strips into as small a compass as possible, he shows both 
packets as one, in the same hand, the flag being the 
nearer to the finger-tips. This he hands to the lady, 
requesting her to rub it lightly. By way of illustrating 
his meaning, he makes the movement of rubbing the 
fingers of the right hand on the left, this movement 
masking the presence of the strips, still in his hand. 
In returning to the stage, these are dropped into a 
hip pocket. 


Later Magic 


365 


The large flag is got into the hands under cover of 
exhibiting the small flag held in front of the body. The 
two are then rolled together, the small one being packed 
into a small compass and palmed off, while the large 
one is exhibited in its place. 


CHAPTER IX. 


TRICKS WITH GLOVES. 


“vanishing” the gloves. 


HE glove is hardly so good a friend to the conjurer 



I as the handkerchief, but it nevertheless lends it¬ 
self to two or three very pretty illusions. The “ van¬ 
ishing” of the performer’s own gloves, in a casual way, 
before commencing his entertainment proper, is a very 
old trick, but is still popular, as forming an easy and 
natural introductory item. 

One method of working the trick is described in 
Modern Magic (page 325). The first glove was in that 
case got rid of by an elastic pull, attached to it before¬ 
hand; and the second by palming. This second 
glove may be neatly got rid of by professedly melt¬ 
ing it into the flame of a candle. The secret here lies in 
the construction of the candlestick, the stem of which, 
for about five inches of its own height, is a straight hol¬ 
low tube. In one side of this, near the bottom, is an 
oval opening about two and a half inches high, which, 
however, may be closed at pleasure by means of an 
outer tube, which slides up and down over the inner one. 
This at the outset is raised, leaving the hole, which is 
•turned away from the spectator, open. When the per¬ 
former has taken off the glove, he rolls it up small into 


Later Magic 


3^7 


a cylindrical shape, and in making believe to transfer 
it from the right hand to the left, palms it in the former 
hand by clipping it against the lower joints of the 
fingers. 

Advancing to the candlestick, he picks this up with 
the same hand, in so doing introducing the glove into 
the opening. Then, holding the left hand over the 
flame, he makes a rubbing motion therewith, presently 
showing the hand empty, the glove having ostensibly 
passed down the flame into the candle. In the act of 
replacing the candlestick on the table, the right hand 
presses down the sliding tube; after which the candle¬ 
stick (which is not thereby perceptibly altered in ap¬ 
pearance) can be shown on all sides without disclosing 
its secret. 

Again, for the first glove; in place of the self-acting 
rubber pull a cord pull may be used. The advantage 
of this arrangement is that the glove need not be at¬ 
tached to the pull beforehand, and so can be passed 
from hand to hand at pleasure, before it is ultimately 
vanished. The pull, which terminates at its outer end 
in a long loop of fine but strong silk, passed over the 
second or third finger of the left hand, travels up the 
sleeve, across the back, and is formed at the opposite 
end into a somewhat smaller loop, which is hitched over 
one of the front brace-buttons on the right side. At 
the proper moment the performer passes the glove mid¬ 
way through the left-hand loop, and doubles it in half. 
While by means of his patter he calls attention to the 
glove, he slips the thumb of the right hand into the 
opposite loop, and disengages it from the button. A 
moment later, while kneading the glove with the fingers 
of the left hand, he draws it up the sleeve. 


368 


Later Magic 


THE GLOVE PASSED INTO THE WAND. 

This is a novel and effective method of vanishing a 
glove, but a certain amount of address is needed to per¬ 
form it neatly. 

The left-hand glove is attached to a rubber pull pass¬ 
ing through a hem round the wrist as described in 
Modern Magic , so as to draw it, when removed from the 
hand, into as small a compass as possible. The per¬ 
former, having taken off the glove, hesitates for a mo¬ 
ment as to what he shall do with it. He finally decides 
to pass it into his wand, and asks whether he shall do 
so visibly or invisibly. Spectators invariably make the 
same reply to this question. The answer is always 
“visibly”; but if by any chance it should be “invisi¬ 
bly” the procedure would be just the same. The dis¬ 
appearance of anything is always invisible when it 
comes to the point. 

The performer, holding the glove, by the wrist por¬ 
tion, in the left hand, transfers the wand to the same 
hand, grasping it by about the middle, and with the 
right hand twists the glove loosely around it. The 
fingers of the left hand are then advanced a little far¬ 
ther up the wand, so that the forefinger and thumb 
shall be a little beyond the glove, though the latter is 
still visible. The right hand now advances, and seizing 
the upper end of the wand, draws it through the glove, 
not too rapidly, at the same time turning it slightly 
from right to left. This movement tends to throw the 
glove back into a straight line, and the pressure of the 
left hand being at the same time relaxed, the glove flies 
up the sleeve. 

In this, as indeed in all tricks of the kind, the per- 


Later Magic 


3^9 


former must take special care that his wristbands are 
not of a size or shape to impede the passage of the glove. 
It will be found a good plan to dust this latter before¬ 
hand lightly with French chalk. A glove so treated 
flies up the sleeve with the minimum of friction. 

The following very effective glove trick, which I 
borrow from a German source, is the invention of a 
wizard whom I have already had occasion to mention, 
the Chevalier Francis King. 

A WHITE GLOVE CHANGED TO A BLACK ONE. 

The effect of the trick is as follows: 

The performer advances wearing a white glove on his 
left hand and carrying a second in his right. While 
making his opening remarks, he lays this latter upon the 
table and proceeds to remove the other from the hand. 
This he vanishes, either by sleight-of-hand or by means 
of a pull. He then turns his attention to the glove on 
the table. What shall he do with it? He decides to 
turn it into a black one. Picking it up, he rubs it be¬ 
tween his hands, and it turns black accordingly. He 
holds up the glove, expectant of applause, but discovers 
from the laughter of the audience that something has 
gone wrong. Glancing at the glove, he perceives that 
one finger has somehow escaped the colouring process 
and remains white. He pretends confusion, and stam¬ 
mers out some feeble sort of apology—he did n’t count 
that finger, or something of that sort. In an absent- 
minded sort of way he folds up the glove, as if ashamed 
of his mistake and desirous of hiding the faulty finger, 
but suddenly bethinks himself that after all there is no 

24 


370 


Later Magic 


harm done. A touch of the magic wand will set matters 
right. He touches the glove with the wand accord¬ 
ingly, and on again unfolding the glove, the odd finger 
is found to be black, like the rest. 

Another “cure,” which may be substituted for the 
use of the wand, is to rub the folded glove against his 
own or somebody else’s black coat sleeve. 

The secret lies in the fact that the glove used is in 
reality two gloves, a white and a black one, sewn wrist 
to wrist. Over one of the fingers of the latter, a finger, 
cut from a third white glove, is passed, and in this con¬ 
dition the black glove is tucked into the white one. In 
laying this on the table, the performer takes care to 
place it with the finger ends towards the spectators. 

The reader, being let into the secret of this prelimi¬ 
nary preparation, will need little further explanation 
as to the working of the trick. When the performer 
desires to turn the white glove into a black one, he 
simply reverses them, bringing the black glove outside 
and working the white one into it. In folding up the 
black glove, after the supposed mistake, it is an easy 
matter to draw off the white finger, which also is pre¬ 
sently tucked inside the black glove, and the thing is 
done. 

In another version of the trick (also Francis King’s) 
the black glove used has really one white finger, but 
this is covered at the outset by a spare black one. 
Having transformed the white finger into a black one, 
the performer bethinks himself that a black glove is use¬ 
less to him, as he never wears black gloves. What is to 
be done ? The best plan will be to turn it white again; 
and this time he will do it a little bit at a time, so that 


Later Magic 


37 i 


the spectators may see clearly “how it’s done.” To 
begin with, he accordingly turns one finger white (by 
withdrawing the black over-finger), and then proceeds 
to turn the whole glove white, by working the black 
glove back into the white one as already mentioned. 

The illusion next described is of the same class, but 
rather more elaborate. This also is derived from a 
Teutonic source, being the invention of Herr Hans 
Meckel. His description of the trick, as given in the 
German magical serial, Die Zauberwelt , 1 is so lucid and 
complete that I cannot do better than quote it at 
length, reserving the liberty of somewhat free transla¬ 
tion. He entitles it Die Handschuhfarberei, which we 
may amplify in English into 

GLOVE-DYEING BY MAGIC. 

The requirements for the performance of this trick 
(apart from the gloves to be “ dyed ”) are as under: 

1. A table, with net servante behind it. 

2. The magic wand. 

3. An empty tumbler. 

4. A tall hat. 

5. A double handkerchief, with circular disc for 
vanishing the tumbler. 

6. A glove, the fingers of which are white, while the 
remainder is black. 

7. A glove, the fingers of which are black, while 
the remainder is white. 

8. A cigar-box, from which one side has been re¬ 
moved. 

9. A piece of cartridge paper about eight inches by 
five. 


1 Vol. v., p. 42. 


372 


Later Magic 


10. A changing tube (as described at page 260, 
supra ). 

11. A black glove. 

The table stands from the outset of the performance 
in readiness upon the stage, and the various articles 
above specified are placed upon it. The cigar-box is 
turned with its open side away from the spectators, and 
behind it lies the changing tube, loaded with the black 
glove. The piece of cartridge paper is laid upon the 
cigar-box, in such manner that one of its ends may pro¬ 
ject over the back, and so mask the presence of the 
changing tube. The net servante is attached behind 
the right-hand side of the table (as viewed by the spec¬ 
tators) and on the table, just above it, lies the magic 
wand. The glass stands at the opposite end of the 
table; and close to it lies the prepared handkerchief. 

In the hat, which may either be already standing on 
the table or be brought in by the performer, are the two 
parti-coloured gloves. Or a borrowed hat may be used, 
these being loaded into it during the return to the table. 
The performer comes forward, wearing white gloves, 
and offers a few introductory remarks, making a special 
point of the fact that the tricks he is about to exhibit 
will be executed entirely without the aid of apparatus. 

“ The feats I am about to show you, ladies and gentle¬ 
men, depend more or less upon sleight-of-hand, as to 
which you will shortly be able to judge the measure of 
my skill. Naturally, to keep my gloves on would 
handicap me considerably, so with your permission I 
will take them off. In every-day life, when a man takes 
his gloves off he just lays them on one side or puts 
them in his pocket, but a conjurer does better; he 
throws them up in the air and dematerializes them.” 


Later Magic 


373 


At this point, having taken off the right-hand glove, 
he places it apparently in the left hand (really palming 
it in the right). Making believe to throw it up to the 
ceiling, he opens the left hand and shows it empty, im¬ 
mediately afterwards producing the glove with the 
right from under the left arm, or elsewhere, as it takes 
his fancy. He then drops it into the hat, but changes 
his mind, and with the remark/' But perhaps you would 
like to keep it in view,” or some words to the same 
effect, with the right hand takes it out and lays it, 
fingers outwards, hanging over the brim. As a mat¬ 
ter of fact, the glove he thus displays is not the one 
he dropped in, but the black glove with the white 
fingers; which, from the position of the glove, are 
alone visible to the spectators. 

“White gloves are suitable for festive seasons, but 
there are occasions in life when even a conjurer must 
wear black ones. Fortunately, any respectable wizard 
has a short and easy way of supplying himself with the 
needful. He just takes his white gloves and dyes them 
black. How does he manage it, you ask? It is quite 
simple, ladies and gentlemen.” (He has by this time 
taken off the remaining glove.) “He just takes a plain 
piece of paper, like this, forms it into a tube, and passes 
the glove through it.” 

As he speaks, he picks up the piece of paper with the 
changing tube behind it, forms it into a cylinder with 
the tube inside, and with the aid of his wand pushes 
down into it the white glove he has just taken off, 
thereby forcing out the black glove at the opposite end. 
He pulls this completely out, lays it on the table, opens 
out the paper cylinder, meanwhile taking the tube in 
the right hand, smoothes out the paper, and lays it 


374 


Later Magic 


down as at first on the cigar-box, in so doing, passing 
the tube through the open back into the padded in¬ 
terior of the box. 

“We have now one white and one black glove.” He 
drops the black glove just produced into the hat, but 
again bethinking himself, says, “No, that won’t do,” 
and dipping his hand into the hat, as if to take it out 
again, takes hold instead of the white glove with the 
black fingers, and lays this beside the other across the 
brim of the hat, in such manner that the black portion 
only is seen by the spectators. 

“All we have to do now is to dye the second 
glove black like the other, and to prove to you that I 
do so without any external aid, I will hold the two 
gloves apart from each other, one in each hand.” 

He takes the two parti-coloured gloves accordingly f 
but takes care so to hold them that the black portion 
of the white-fingered glove (held in the left hand) and 
the white portion of the black-fingered glove (held in 
the right hand) shall be completely covered. To all 
appearance, therefore, he is exhibiting a black and a 
white glove, or strictly speaking, one half of each; he 
then rolls them together between the hands; at the 
same time gravely pronouncing some mystic formula, 
which occasions a laugh among the spectators. “ If 
you interrupt me, ladies and gentlemen, you can’t ex¬ 
pect me to produce satisfactory results. If you laugh, 
you make me laugh; and then my work is likely to be 
only half done. As I feared; that is just what has 
happened.” (He spreads out the gloves.) “You see, 
half black, half white. I might wear them at the next 
carnival, certainly, but they are of no use for anything 
else. If I kept on in the same way, I might perhaps 


Later Magic 


375 


turn them into a shepherd’s plaid pattern. Stop a bit, 
though, I think I see a way out of the difficulty. I will 
wash them, and then it is to be hoped they may return 
to their original colour. Unfortunately I have no con¬ 
veniences for washing, no water, in fact no anything. 
Never mind, for lack of water I will try air.” 

Here he places both gloves in the tumbler, throwing 
the faked handkerchief over it; picks up the glass in¬ 
side the handkerchief, and lets it fall with its contents 
into the net, the handkerchief remaining distended be¬ 
tween his fingers by reason of the disc in its centre. 
The spectators naturally believe that he is still holding 
the glass within the handkerchief. “How I am to set 
the air to work for my washing operation is not quite 
clear to me. I will try the experiment of blowing 
against the glass. Probably the supply of air will be 
insufficient for my purpose, but I can try.” (He 
expands his cheeks and blows against the handker¬ 
chief. ) ‘ ‘ Hallo! How is this ? ’ ’ 

He picks up, with the left hand, one comer of the 
handkerchief, peeps underneath it, and shakes it out, 
when it is seen to be empty. “ I suppose I must have 
blown too hard. The gloves could not bear even so 
mild a draught of air as that. This will be a lesson to 
me never to exhibit novelties in public again without 
having tested their effect beforehand. So far as I can 
see, the glass and its contents have melted into thin air. 
I advise all mothers of families to take warning from my 
fate; to eschew the air-cleansing process and to stick 
to the old way of washing. If I had done so, I should 
still be in possession of my gloves; but as they have so 
completely disappeared, I must make up my mind to 
the loss. My hands, at any rate, are all the freer with- 


376 


Later Magic 


out them, and I will avail myself of this greater freedom 
to give you a few more specimens of my dexterity.” 

THE DAMAGED GLOVE AND LADY’S STOCKING. 

This is another variation of the glove trick. The 
performer appears with one glove on, the other in his 
right hand. With the latter he makes a movement 
towards the ceiling, and the glove vanishes, being drawn 
up the sleeve by a rubber pull. He then proceeds to 
take off the other glove, but it appears to be a very 
tight fit. When he has got it nearly off he gives a 
vigorous pull, but his success is now too complete. The 
glove has come off, but the thumb and a portion of the 
adjoining material remain on the hand. He looks rue¬ 
fully at the damage, makes some remark about never 
being able to get a glove to fit him, and so on, and then 
vanishes the damaged article (this time by using the 
sleight-of-hand method). The severed “thumb” still 
remains on his hand. He turns it this way and that, 
eyeing it with a disgusted expression, and finally says: 
“ Well, it ’s no good as it is, I must see what I can make 
of it. Perhaps there may be kid enough for a smaller 
glove.” 

No sooner said than done. He rolls the scrap of kid 
between his hands, and a moment later shows it trans¬ 
formed into a complete though miniature glove, his 
hands being otherwise empty. ‘ ‘ That is a little better, ’ ’ 
he remarks, turning it about to show it, “but it is too 
small for anybody but a baby to wear. I must see if I 
can’t stretch it a bit, and make it large enough for a 
lady.” He begins to pull, and the glove to lengthen in 
his hands. Still longer and longer he stretches it. The 


Later Magic 


377 


spectators begin to realize that the fabric as well as the 
shape has somehow altered; and presently it reveals 
itself at full length as a lady’s stocking, the glove having 
entirely disappeared. The stocking is now either got 
rid of by one or other of the methods given for vanishing 
a handkerchief, or is retained for use in some other 
trick . 1 

The reader will doubtless have guessed the greater 
part of the secret. The glove used has the thumb por¬ 
tion cut out, along the usual line of stitching. Round 
the edges of the portion thus cut out is sewn a strip, 
half an inch wide, of similar kid, forming a sort of mar¬ 
gin. (A simpler plan, where cost is not a material con¬ 
sideration, is to cut a second thumb, with the necessary 
margin complete, out of another glove.) If now the 
thumb be first put on, and the mutilated glove over it, 
there will be nothing to call attention to the fact that 
they are already separate; and when the performer 
takes the glove off the spectators naturally take for 
granted that he has torn it in doing so. The “baby” 
glove is packed inside the thumb; just at the fork, 
where it will not occasion any noticeable bulge. 

When the thumb is taken off, this latter is folded up 
small and tucked inside the baby glove, which is ex¬ 
hibited in its place. While this is held up, in the one 
hand, the other gets possession of the previously vested 
silk stocking. This has a little pocket, of the same 
colour and material, just inside the opening at top, and 
when the stocking is exhibited, the miniature glove 
and its contents are slipped into this pocket; where 
they may remain, unless the performer proposes, as 


1 E. g., for the watch trick described at p. 195 of More Magic. 


378 


Later Magic 


above suggested, to utilize the stocking for the purpose 
of some other trick, in which case he must get them out 
again as best he can. With a little ingenuity he will 
easily find an opportunity for doing so. 

A GLOVE CONJURED INTO A NUT, THE NUT INTO AN EGG, 
THE EGG INTO A LEMON, AND THE 
LEMON INTO AN ORANGE. 

This is a very old trick, but has recently been rein¬ 
troduced, in a slightly altered form, as a novelty. As 
illustrating the wide divergence between old methods 
and new, it may be interesting, before proceeding to 
describe the modern method, to give a translation of 
the instructions given by Ponsin, writing in 1858, for 
the original version. It will be observed that the 
draped table with an assistant under it, the boite h 
compare condemned by Robert-Houdin, was then still 
in use, and played an important part in the illusion. 
Ponsin, by the way, adds a ring to the articles used in 
the trick. 

“Effect. A ring and a glove are borrowed, and 
placed in a little box. An orange, a lemon, an egg, 
and a nut are offered for examination. The glove and 
ring vanish invisibly from the box. The lemon, the 
egg, and the nut, which had been placed under a cover 1 
on the table, disappear, and the whole are found in the 
orange, which the performer is holding in his hand. 

Explanation. The little box in which the glove and 
ring are deposited is placed on a trap in the table-top 
and covered over. An assistant, concealed within the 

1 A metal cover, in the shape of a truncated cone, is here referred 
to. 


379 


Later Magic 

table, takes it, removes the glove and the ring, and re¬ 
places it as before. He quickly places the ring in a nut 
previously prepared for that purpose, inserts the nut in 
one of the fingers of the glove, and the glove in an egg, 
which is itself enclosed in a lemon, and the lemon in an 
orange, after a fashion which will be explained later. 

“ In order to allow the assistant time for these opera¬ 
tions, an orange, a lemon, an egg, and a nut are mean¬ 
while offered for inspection. This done, stepping up 
to the table, you uncover and lay aside the little box 
(professedly still containing the glove and ring), putting 
in its place and covering over the lemon, egg, and nut, 
but retaining the orange. While you are employed in 
placing these three articles on the trap, the assistant 
exchanges, for the orange you hold, the prepared one 
containing the enclosures above referred to. 

“When the exchange has been effected, the assistant 
opens the trap and lets the unprepared lemon, egg, and 
nut drop out of sight. The performer meanwhile takes 
the little box, announcing that he will show a pretty 
trick with the glove and ring which it contains, but on 
opening the box he finds, to his pretended surprise, that 
it is empty. He lifts the cover over the trap, and 
makes believe to be still more astonished at finding 
nothing there. He seeks for the missing articles, re¬ 
marking at last, ‘ Let us see, perhaps some rival wizard 
has played me a trick, and passed them into the 
orange.’ He cuts this open, and shows the lemon, 
which he takes out of the orange; he then cuts open 
the lemon, and exposes the egg. He breaks this, pulls 
out the glove, and lastly finds the nut in the glove. He 
breaks the nut, and produces the ring, which is identi¬ 
fied by the person who lent it.” 


380 Later Magic 

The preliminary preparations are described by Pon- 
sin as follows: 

“You take an orange, and cut out of it about a fifth 
part, and through the opening thus made, clear out the 
pulp by the aid of a teaspoon. A lemon is emptied in 
the same way, and inserted inside the orange. Inside 
the lemon is an egg, inserted while full to avoid break¬ 
age, but emptied afterwards. The assistant has the 
orange, thus prepared, in readiness. When he gets 
possession of the box containing the glove and the ring, 
he inserts the latter into an empty walnut-shell, joining 
the shell together again by means of wax smeared over 
the edges. He pokes the nut, thus treated, into one 
of the fingers of the glove, and the glove into the egg. 
He must use due care, in exchanging the oranges, to 
offer the prepared one in such manner that the open 
side shall rest against the palm of the conjurer; so that, 
the opening being unseen, the orange may appear to 
the spectators to be unprepared.” 

This is a fair example of what in its day was regarded 
as a first-class trick. To the modern conjurer it would 
seem a painfully clumsy affair, though it is possible that, 
in good hands, the address of the performer may have 
made it effective. We now proceed to the more up-to- 
date method. 

In the modern version the orange, etc., are somewhat 
differently prepared. A segment is not cut out of the 
orange, as described by Ponsin, but two cuts are made 
in the rind at right angles to each other, and the peel 
turned back at the point of intersection. The length 
of the cuts is regulated by the size of the lemon to be 
introduced, and the pulp is removed through the open¬ 
ing thus made. The lemon is prepared in the same 


Later Magic 


38i 

way. The egg, introduced into the latter endwise, and 
while still full, after Ponsin’s method, may then be 
emptied through an opening made for that purpose in 
the exposed end, and an unprepared walnut inserted 
therein. The cut portion of the lemon rind is then 
folded down to its original condition, and secured by 
one or two stitches with lemon-coloured cotton. This is 
then loaded into the orange, which is restored to its 
original appearance in the same way. The orange thus 
prepared should be placed on a servante behind a small 
round table. This is covered with black velvet, and 
is provided with a pocket of the same material, as de¬ 
scribed at page 89. 

The performer must also provide himself with an un¬ 
prepared orange, lemon, egg, and nut of similar ap¬ 
pearance. These are exhibited openly on a tray upon 
his table. He should also have a little packet of flash 
paper, enclosing a very small quantity of gun-cotton, 
rolled up and vested. This should correspond in size 
and appearance with the parcel a lady’s glove would 
make, if rolled as small as possible and wrapped up in 
the same way. 

The egg, it should be mentioned, is shown in a nickel- 
plated egg-cup. This, though in appearance innocence 
itself, is in fact the mechanical egg-cup with reversible 
half-shell, familiar to most conjurers. 1 The latter item 
(the half-shell) is vested on the opposite side to that 
on which the flash-paper packet is placed. 

A lady’s white kid glove having been borrowed, it is 
rolled up and wrapped in a piece of paper in such man¬ 
ner that the packet shall correspond in appearance 
with the flash-paper roll. It is then deftly “changed” 
1 See post , in the chapter dealing with Egg Tricks. 


382 


Later Magic 


for the latter, which is given to one of the spectators 
to hold, while the packet really containing the glove 
is passed off to the assistant by one or other of the 
methods already described, or in any other way that the 
performer may find convenient. For instance, he may 
rebuke his assistant for having left the candle on the 
table unlighted, and call for a match in order to remedy 
the omission. A box of matches being brought to him, 
he takes out a match and lights the candle. The box 
is handed back, still open, to the assistant, the little 
packet having been meanwhile pushed into the open 
end. The assistant closes the box; thereby pushing 
the little packet out into his hand, and carries both off 
together. Behind the scenes he inserts the glove, with¬ 
out the paper, into an empty walnut-shell, the edges 
of which have been slightly smeared with shoemaker’s 
wax, so that the half-shells adhere by mere pressure. 

A further problem now presents itself, viz., how to 
pass this shell into the hands of the performer. Vari¬ 
ous ways of doing this might be suggested. For instance, 
the performer may accidentally (?) drop the egg he has 
just been showing on the tray, and smash it; or it may 
suddenly strike him, upon sniffing critically at the egg, 
that it is not quite fresh, whereas, for the purpose of 
his experiment, an absolutely new-laid egg is necessary. 
In either case he has a sufficient pretext for calling for 
another egg. This is brought by the assistant on a 
plate or small tray, held in the left hand. When he 
nears the performer, he picks up the egg with the right 
hand, in which he has the nut palmed, and offers them 
both together. 1 The egg alone is shown, the nut being 

1 This passing of two articles while professedly handing one only 
is a very useful expedient, but needs some amount of preliminary 
practice in order to execute it with perfect success. 


Later Magic 


383 


vested, or temporarily dropped into a pochette. The 
egg is exhibited on all sides, and then ostensibly placed 
in the egg-cup. In doing this, however, the performer 
deftly substitutes the half-shell, and drops the complete 
egg, which should be either hard-boiled or of celluloid, 
into his profonde. 

Where a pistol is used in the final stage of the trick 
(which is one of the easiest methods of working it), the 
nut may be brought in by the assistant with the weapon, 
and lie behind it on the table till wanted. 

Having thus got matters in train, the performer ex¬ 
plains that he is about to attempt a very difficult feat. 
He proposes to pass the glove into the nut, the nut into 
the egg, the egg into the lemon, and so on. As a first 
step, he invites the person having charge of the little 
packet, professedly containing the glove, to warm it 
a little by holding it over the candle. As soon as it 
touches the flame it flashes off, and disappears. The 
performer explains that he had not intended it to be 
held quite so near; but there is no great harm done; the 
glove has merely passed into the candle. This however 
will necessitate a little alteration in his intentions. He 
will now be compelled to pass the nut too into the 
candle, to look for the glove. He accordingly does so, 
ostensibly placing the (unprepared) nut in the left 
hand and rubbing it away over the candle flame, while 
the right hand drops it into the profonde. The egg he 
may as well serve the same way. Accordingly he picks 
up the egg-cup in the left hand, and, holding it in a 
slanting position over the candle-flame, rubs the egg 
gently with the fingers of the right hand. Under cover 
of the rubbing the half-shell is reversed, and hands and 
egg-cup are alike shown empty. 


3^4 


Later Magic 


The orange and lemon are now alone left. The per¬ 
former considers the possibility of passing the latter 
also into the candle, but decides that it is rather too 
large, and that he had better pass it into the orange. 
Picking up the lemon and the orange together in the 
right hand, he advances to the small velvet-covered 
table, but before placing them on it, moves this a foot 
or two nearer the centre of the stage. This he does 
by gripping the table-top with the left hand in front, 
and the right hand behind, under which conditions it is 
a very easy matter to exchange the unprepared orange 
for the one on the servante. This and the lemon are 
then placed on the table, one on each side of the pocket 
therein. The performer, standing behind the table, and 
drawing back his sleeves to show all fair, picks them up 
between his hands and rubs them together, or rather, 
that is what he appears to do. As a matter of fact, 
when the hands are brought together on the table, the 
hand with the lemon travels a little faster than the 
opposite hand, and the lemon, instead of being picked 
up with the orange, actually goes “down trap.” The 
orange is rolled between the hands for a moment or two, 
the performer meanwhile moving away from the table, 
and it is then shown that the lemon has disappeared, 
having apparently passed into the orange. 

The final stage is to pass the glove, nut, and egg, 
professedly now all in the candle, into the combined 
fruit. If the pistol be not used, this may ostensibly 
be done by merely revolving the orange a few times 
over the candle-flame, but this is scarcely an artistic 
method. The use of the pistol adds greatly to the effect 
of the trick, the performer standing at one side of the 
stage, with the orange on a table at the other, and the 


Later Magic 


385 


candle in a straight line between. In either case, as 
soon as the articles are supposed to have “passed,” 
the performer picks up the orange, and with a sharp 
knife cuts enough of the rind to expose the lemon. 
This he next cuts in like manner, and produces the egg. 
He takes out this in such manner as not to show the 
open end, and at once breaks the shell, when its prepara¬ 
tion can no longer be detected. 1 Thence he produces 
the nut therein contained, for which the prepared one 
is then deftly substituted; and this being broken, the 
trick is done. The performer may score an additional 
point by gravely bringing forward the candle, that 
any one who wishes may satisfy himself that it no 
longer contains either glove, nut, or egg. 

I have described this illusion at somewhat dispropor¬ 
tionate length, but it is one which is susceptible of 
many variations ( e . g. y a borrowed ring or bank-note 
may be substituted for the glove), and it has the 
further merit of practically illustrating sundry pro¬ 
cesses and expedients whose usefulness is by no means 
limited to the particular trick under consideration. 

dr. Avon’s glove trick. 2 

This is a very elaborate trick, but will be found 
effective by those who do not mind the trouble of the 
necessary preparation. 

1 A more realistic method is to use a raw egg, unbroken. At the 
close of the trick, this is broken into a tumbler, and the prepared 
walnut, held in the same hand, is allowed to drop therein. If the 
performer breaks the egg on the edge of the tumbler remote from 
himself , this becomes an easy matter, as the hand is in that case 
brought over the tumbler. The necessary wiping of the nut before 
it can be further dealt with only adds to the effect of the trick. 

2 Die Zauherwelt, Vol. iii., p. 166. 


386 Later Magic 

The following are the requirements for the feat: 

1. A pair of ordinary white kid gloves. 

2. A single glove (a) specially prepared. 

3. A single glove (b) also specially prepared. 

4. A white kid glove, child’s size. 

5. A sand-frame. This is the familiar frame used 

for producing or vanishing a playing card. 

(See More Magic, page 102.) 

6. A lighted candle. 

7. A glass tumbler. 

8. The “smoke” apparatus, described at page 56. 

9. Pull in left sleeve, with loop at end. 

The preparation of the two gloves is somewhat ex¬ 
ceptional, and will require some care, a is a glove 
from which two fingers have been tom off, and which is 
damaged in other particulars. In each of the two re¬ 
maining fingers is concealed a short piece of rubber 
tube, secured at each end, and filled with milk. The 
rubber has been punctured in one or two places, near 
the finger-tip end, with a sharp penknife, and the 
glove fingers have likewise been cut at the tips to cor¬ 
respond. If the holes have been properly made in the 
rubber, no liquid will escape, save under pressure. The 
glove thus prepared is rolled up in a small compass, and 
placed on the servante. 

The second glove, b, is in still worse condition, noth¬ 
ing being left of it save one finger and a strip of the 
back or palm. In the finger is a rubber tube filled with 
milk, and otherwise prepared as above mentioned. 
This hangs, by a thread that can be easily broken, in¬ 
side the front of the performer’s coat on the left side. 
The child’s glove is placed inside the sand-frame, which 



Later Magic 387 

is so turned that the sand shall run down between the 
glasses and the frame appear empty. The smoke ap¬ 
paratus is duly arranged on the person of the performer, 
the outlet tube lying just inside his right sleeve. 

The performer comes forward wearing the unpre¬ 
pared gloves, and introduces the trick as follows: 

“It is almost a matter of course for a conjurer, in 
good society, to begin by ‘vanishing’ his gloves. I 
propose to follow the fashion, but after a manner of my 
own. I shall rely, not on rapidity of movement, but 
on one of the forces of nature, namely, Heat. As you 
are aware, ladies and gentlemen, there are three states 
or conditions of matter: the solid, the fluid, and the 
gaseous, according to the temperature to which it is 
exposed. We have a familiar example in water, which 
appears in a solid form as ice, or in vapour as steam. 
Now, I have discovered that the same thing applies to 
many other substances, far more so indeed than any¬ 
body has hitherto suspected. I will illustrate the prin¬ 
ciple with these gloves of mine. I leave you to choose 
which of them I shall use for my experiment.” 

The performer takes off both gloves, and hands them 
for examination, letting it be clearly seen that they are 
quite unprepared. When one has been chosen, he takes 
it with his right hand, and places it in his left, really 
inserting it within the loop of the pull and getting rid of 
it by that means up the sleeve, though the hand closes 
as if still containing it. He then, with the right hand, 
picks up his wand, and with it the prepared glove a, 
which has been so placed as to enable him to do this. 
He then makes believe to return the glove first shown, 
and believed to be in the left hand, to the right, which 
he moves about over the lighted candle, professedly to 


388 


Later Magic 


“melt” the glove. After a sufficient interval he picks 
up the tumbler, and, holding his hand over it, squeezes 
the glove (a). The rubber tubes yield up their con¬ 
tents, which drip into the glass. When squeezed dry, 
he exhibits the mutilated glove, remarking that some 
part at any rate of it is completely melted, as may be 
seen by the portions missing. 

Using both hands, he rolls A into a smaller compass, 
then making a quarter turn to the left, he gets b se¬ 
cretly into his left hand. He makes believe to pass a 
into the left hand, but really palms it in the right, and 
in the act of picking up the candlestick with the right 
hand, gets rid of it on the servante. He now holds the 
left hand over the lighted candle, and, after having 
warmed it sufficiently, takes up the tumbler, and 
squeezes the contents of b into it. This done, he opens 
the hand, and shows that the unfortunate glove has lost 
a further portion of its substance. In pulling it apart 
it should be an easy matter to extract the piece of 
rubber tube from the finger, after which the remains 
may be handed for closer inspection. 

While general attention is thus attracted to the dam¬ 
aged glove, the performer gets down the end of the 
smoke tube into his right hand. Taking back the 
glove with the left hand, he apparently transfers it to 
his right, getting rid of it a moment later, in the act of 
picking up the wand or candlestick. 

Again he holds the right hand over the candle, re¬ 
marking that as so much of the glove has already 
reached the fluid state, the remainder cannot be very 
far from the gaseous condition; and the spectators 
are invited to watch narrowly for this transformation. 
While they are thus watching the right hand, the left 


Later Magic 


389 


sinks to the side and presses the air-ball of the smoke 
apparatus, when dense white fumes stream from the 
fingers of the right hand, representing the last atoms of 
the glove in a state of combustion. The straightening 
of the arm draws the tube back into the sleeve, when 
the right hand may be shown empty. 

In the trick as described by Dr. Avon, the miniature 
glove (professedly the original restored, but diminished 
in size by evaporation) is caused to appear in the sand- 
frame, previously seen empty; but this is of course only 
one of many possible conclusions. 


CHAPTER X. 


TRICKS WITH EGGS. 


HE most practical advance in this direction lies in 



1 the introduction of the celluloid egg. There are 
many tricks in which the use of the natural egg is 
undesirable. For palming purposes its weight is an 
objection, and, unless hard-boiled, its fragility lays the 
performer always more or less open to a possible catas¬ 
trophe. The blown egg is still more fragile, though this 
difficulty may be to some extent got over by coating 
the interior with a plaster cement. Imitation eggs of 
wood, metal, and rubber have been tried, but none of 
them looked quite like the real thing, and they had the 
further drawback of soiling very quickly. 

At last, however, some one hit on the happy thought 
of employing celluloid, 1 and the problem was solved. 
Eggs made of this material are undistinguishable by 
sight from the real article. They are much stronger 
than the natural egg, while their lightness enables even 
a novice to palm them with perfect ease. They are 
manufactured with an unbroken surface, in imitation 
of the natural egg, and also hollow, with an opening 
at the side or end, for use in handkerchief tricks. The 
last mentioned pattern (see Fig. 169) is a comparative 

1 Messrs. Hamley use both for eggs and billiard-balls a special 
form of celluloid, called “ivorine,” which gives exceptionally good 
results. 


390 


Later Magic 


39i 


novelty. Each has its recommendations, according to 
the purpose for which it is employed. The reader will 



Fig. 169. 


find indicated in the following pages frequent opportu¬ 
nities for the use of each kind. First, however, I will 
describe two methods of “faking” a natural egg, for 
the purpose of a very effective little trick. 

THE SELF-BALANCING EGG. 

Into a blown egg insert a small teaspoonful of shot, 
with a like quantity of melted paraffin wax. Stop 
the two holes with a mixture of coaguline and levi¬ 
gated lime, and place the egg, while the paraffin cools, 
point upwards, so that the contents may settle down 
and solidify at its broader end. When it is cold, the 
stoppings of the two holes may be smoothed over with 
a small file, and if neatly finished off will be practically 
invisible. An egg thus prepared will stand upright on 
its broader end, and even if laid down, will immedi¬ 
ately resume its former position. It may even be 
balanced upright on the end of the magician’s wand, 
with very curious effect. 

Another, and in some respects better, plan is to fill 
the egg, to the extent of one third of its capacity, with 
fine sand, in place of the shot and paraffin, closing 
the ends as above described. The egg in this case is 


392 


Later Magic 


not limited to the perpendicular, but remains pretty 
nearly in any position in which it may be placed, the 
loose sand naturally settling down into the portion 
which may be lowest for the time being. 

It is hardly necessary to remark that the egg should 
not be introduced point-blank as having this peculiar 
property, but should be deftly substituted for another 
which in the course of some previous trick has been 
casually submitted to examination, or as to which the 
audience have in some other way been satisfied that it 
has “no preparation.” 

THE EGG-CUP, FOR VANISHING AN EGG. 1 

This little piece of apparatus is of considerable an¬ 
tiquity, and no expert at the present day would think 



Fig. 170. 


4 


of exhibiting it as an independent trick. In com¬ 
bination with other elements, however, it may still be 

1 One mode of using this egg-cup has been already indicated in 
connection with the glove trick described at page 378, but it merits a 
special mention in connection with egg tricks generally. 





Later Magic 


393 


made very useful. For the benefit of readers who may 
not have made its acquaintance, I will briefly describe 
it. 

In appearance it is simply a handsome nickel- 
plated egg-cup, such as would do credit to anybody’s 
breakfast table. (See Fig. 170.) Close examination, 
however, reveals a little peculiarity, in the shape of a 
rebate all round the inner edge of the cup. Into this 
fits the rim of a half-shell, a, also of metal, but en¬ 
amelled on the outside in exact imitation of an egg. 
The two parts of the apparatus are so adjusted in point 
of size that this half-shell exactly fits the cup either 
way up. If inserted with the convex side upwards, 
the effect to the spectator is that there is an egg in the 
cup. If turned the other way up, the convex side of 
the shell adapts itself to the concavity of the egg-cup, 
and the latter appears empty. Indeed, in such con¬ 
dition it is available for the reception of an actual egg. 
The interior of the half-shell, like that of the cup itself, 
is of polished metal. 

When the sham egg is in position, an expert per¬ 
former can, by merely passing his hand over it, re¬ 
verse it in the cup, leaving the latter apparently 
empty. To do this, the first step is to show a com¬ 
plete egg (real or imitation), and to place it appar¬ 
ently in the cup, actually substituting the half-shell. 
Taking the cup by its foot in the left hand, the 
performer encircles the supposed egg with the fingers 
of the right, as if to lift it out of the cup, but, as a 
matter of fact, under cover of the fingers, turns the 
shell over with the thumb. The right hand moves 
away as if containing the egg, and is in due course 
shown empty. 


394 


Later Magic 


AN IMPROVED EGG-HOLDER. 

This is another of the ingenious aids to deception 
for which magic is indebted to Herr Willmann. 

Its object is to transform a silk handkerchief into 
an egg, which in this case may be not merely a con¬ 
jurer’s make-believe, but the genuine production of the 
hen. In shape the fake follows the lines of the egg-cup 
of ordinary life, but with the foot cut off half an inch 



Fig. 171. 


below the bowl. In appearance it is as represented in 
Fig. 171. Round the mouth of the cup a a are three 
small holes, as b b y through which pass from the outside 
three studs or pegs, attached to steel springs which 
normally press them inward. An egg being intro¬ 
duced, smaller end foremost, into the holder, the pres¬ 
sure of these three studs holds it safely in the cup, 
even when the latter is held mouth downwards. In 
the lower half of the holder is an oval opening, c , about 
an inch in longest diameter. At its extreme lower end 



Later Magic 


395 


is a cup-shaped boss, hollowed out to receive the knot 
of a piece of rubber cord, d. The opposite end of this 
cord, which is about half a yard in length, is passed 
inside the vest through the left arm-hole, and secured 
to one of the brace-buttons on the opposite side, in 
such manner that the holder shall hang, covered by 
the coat, about level with the vest pocket on the left 
side. 

The manner of its use is, broadly speaking, as fol¬ 
lows: The performer, exhibiting a silk handkerchief 



Fig. 172. 


in his right hand, makes a half-turn to the left, as if 
to give a better view to the spectators on that side. 
While his left side is thus screened, he gets the fake 
into the left hand, and then, bringing the hands to¬ 
gether, works the handkerchief into the opening c, 
thereby forcing out the egg into the hands, the hand¬ 
kerchief taking its place at the bottom of the cup, 
which is then allowed to fly back to its original posi¬ 
tion. 

The egg-holder above described is a very ingenious 


Later Magic 


39 6 

and finished contrivance, but it seems to me that the 
same object might be effected equally well, and more 
simply, by suppressing the three studs and the springs 
to which they are attached, and fixing across the 
mouth of the cup a flat rubber band half an inch wide, 
secured by a screw and washer on each side, as shown 
in Fig. 172. The band could be drawn aside to allow 
of the introduction of the egg and again to admit of its 
withdrawal, resting in the meantime across the broad 
end of the egg and holding it safely in position. India- 
rubber has the defect of being perishable, but the band 
could be renewed so easily that this is practically no 
objection. 

THE MAGICAL PRODUCTION OF EGGS. 

Where the performer merely desires to produce one 
or two eggs for the purpose of some trick to follow, he 
cannot do better than obtain them from beneath the 
lower edge of the waistcoat. 

In some instances the article is simply “vested” 
after the ordinary fashion, and in the case of a cellu¬ 
loid or blown egg this is safe enough. But with the 
natural egg, in its raw state, this is rather a hazardous 
method, the combined weight and smoothness of the 
egg tending to create some risk of its escaping pre¬ 
maturely from its hiding-place, and producing an un¬ 
rehearsed and by no means desirable effect upon the 
floor. To avoid this risk, it is well in such case to use 
the egg-clip. This is a simple piece of hard brass wire, 
twisted into the form shown in Fig. 173. Each of the 
ends is fashioned into a ring, the one rather larger than 
the other, the egg resting horizontally between them, 


Later Magic 


397 


while the centre portion forms a loop, by means of 
which the holder is attached to a hook or button, sewn 
in an appropriate position to the trousers, just under¬ 
neath the vest. Where several are used, a cord may 
be passed through the various loops, and then tied 
round the waist. Thus secured, there is no fear what¬ 
ever of the egg falling, while yet it is so lightly held 
that the slightest pull brings it into the hand. 

I have recently seen at Messrs. Hamleys’ an egg-clip 
of a new and improved pattern. So far as the arrange¬ 
ment for supporting the egg is concerned, it is iden¬ 
tical with that just described, but it differs from it in 



Fig. 173. 


the fact that instead of the loop at top, the centre or 
stem portion is turned over and forms a sharp hook, 
by means of which the holder can be attached in an 
instant to any part of the clothing, and as quickly de¬ 
tached when no longer needed. 

It will be seen that this contrivance is, with the 
slight variation in form necessitated by the greater 
length and different shape of an egg, practically the 
same as the “ball clip,” described at p. 81. 

Where, however, the mere production of some con¬ 
siderable number of eggs is the effect aimed at, this 




39§ 


Later Magic 


can be better achieved by the use of another expedient. 
In this particular instance, the time-honoured popular 
idea of magical production,—the “up his sleeve,” 
which, to the public mind, has satisfactorily accounted 
for so many mysteries,—is actually realized, the eggs 
being in fact produced from the sleeve of the performer. 

The method of doing this is extremely ingenious. 
The eggs are not the “real thing,” but dummies of 
celluloid. Through each end of each egg a 
small hole is pierced. Three or four of such 
eggs are threaded on a fine silk cord, as 
shown in Fig. 174. One end of this ter¬ 
minates in a good-sized dress-hook; and the 
other in a little soft worsted tassel, of such 
a size that the eggs can be drawn over it, but 
will not pass it by their own weight. The 
hook is slipped over the edge of the arm¬ 
hole of the vest. The cord, with the eggs 
upon it, is passed down the sleeve at the 
same side, and its length is so adjusted that, 
when the arm is fully extended, the lower¬ 
most egg lies just inside the coat cuff; but 
when the arm is flexed, comes into the hand. 
When this egg is drawn off, the rest slip 
down till checked by the tassel, another egg 
being thus made ready for production. 

Each arm may be thus furnished; and, with a little 
practice, the production of the eggs becomes a very 
easy matter. At the same moment when an egg, 
extracted, say, from the breast pocket or from inside 
the open vest of a spectator, is exhibited in the one 
hand, the opposite arm is bent, and an egg got into 
the other hand, ready for a fresh production. 



Later Magic 


399 


Theoretically, a dozen eggs may be produced in 
this way, six from each sleeve, and I have seen the 
trick so described. It would, however, be extremely 
unwise to produce anything like such a number, the 
repetition of the same effect in the same way several 
times over being a breach of one of the soundest of 
conjuring maxims. Five or six should be regarded 
as an outside limit, and the use of the sleeve should be 
alternated with some other form of production, say 
from the vest. This plan has the further advantage 
that, as the eggs in the latter case may be real ones, 
one of them may be accidentally (?) dropped on a 
plate or otherwise, and so prove, by conjurers’ logic, 
the genuineness of the rest. 

PRODUCTION OF EGGS FROM THE MOUTH. 

Instructions for producing this effect were given in 
Modern Magic and More Magic . 1 The trick is not 
one suited for indiscriminate performance, but it is 
one highly appreciated by juvenile or bucolic spec¬ 
tators; and it may be worth while therefore to note 
one or two improvements which have been made in 
the method of production. 

One of these consists in the substitution, for the un¬ 
prepared egg placed in the mouth of the assistant, of a 
hard-boiled egg, with the shell removed. 

In using the older method there was a certain amount 
of danger. If the assistant, while the egg was in his 
mouth, happened to be seized with a sudden fit of 
coughing or of laughter, he ran considerable risk of 
being choked. This, the use of the shell-less egg 

1 Modern Magic, p. 329; More Magic , p. 342. 


400 


Later Magic 


avoided. This last is, however, in turn now super¬ 
seded by a more artistic contrivance, in the shape of a 
half-shell of metal or celluloid, white outside, but in¬ 
ternally coloured red, of a tint corresponding to that of 
the inside of the mouth. 

The fake may be used by the performer himself, but 
is best adapted for that form of the trick in which the 
eggs are produced from the mouth of his assistant. 
The latter prepares for the feat by slipping the little 
fake into his mouth, and turning it so that its concave 
side shall come over the tip of the tongue. When it 
is desired that he shall produce an egg, he opens the 
mouth and pushes this slightly forward, representing 
to the eyes of the spectators a complete egg. The 
performer, bringing his hand up to take it from the 
mouth, shows in its place an actual egg, previously 
palmed, while the fake is drawn back again into the 
mouth, reappearing as often as may be desired. Bv 
turning the fake with the concave side outwards, 
letting it rest inside the cheek, the mouth may 
shown apparently empty. 

At the close of the trick, the performer pushes t* 
egg to be last produced partially into the mouth of t' 
assistant, who with his tongue turns the fake in 1 
mouth so that it shall be brought over the end of t: 
egg, when both can be removed together. 

When the performer produces the eggs from his o-v 
mouth, the fake may be introduced, a few momen 
beforehand, under cover of a simulated cough. Wh< 
coughing it is natural to place the hand before t' 
mouth, and the act of so doing brings the palmed fa 
just into the position needful for its insertion. If i 
performer has coughed once or twice before, in £ 


Later Magic 401 

course of some other trick, the feint will appear all 
the more natural. 

The egg-clip, described at page 397, will be found 
very useful in the performance of this trick, the vesting 
of raw eggs in the ordinary way being a trifle hazard¬ 
ous, and productive of considerable anxiety to a ner¬ 
vous performer. 

Before quitting the subject of this particular illu¬ 
sion, it may be interesting to describe the trick as 
performed, some thirty years ago, by the. German 
Court conjurer, Bellachini, whose working has one or 
two amusing features. I borrow my description from 
an article by Herr Willmann in Die Zauberwelt . 1 

The assistant took up his position in the back¬ 
ground, towards one side of the stage, standing with 
his hands behind him, as if merely waiting till his 
services should be required. In each of his hands 
were three raw eggs. In this position he remained 
while Bellachini performed some trick with an egg. 
The egg used was finally “vanished,” but imme¬ 
diately reappeared between the lips of the assistant 
(this was a shell-less egg, as above described). The 
conjurer, catching sight of it, stepped up to him in 
order to take it back. 

Standing at the left side of the assistant, he placed 
the left hand on his chest and the right hand on his 
back, making believe to press his body between them, 
and under cover of this manoeuvre got into the right 
hand, and palmed, an egg from the concealed store in 
the rear. Meanwhile, as a supposed effect of the 
1 Vol. ii., p. 73. 


402 


Later Magic 


pressure, the shell-less egg was allowed to project a 
little farther from the mouth. 

The performer, now changing his position so as to 
be on the opposite side, brought up his right hand to 
the mouth, and apparently took the egg therefrom, 
though, as a matter of fact, he pushed the egg just 
palmed partly into the mouth, and thence produced it, 
while the one shown was allowed to slip back, and the 
mouth to close. 

The egg produced was laid upon a plate and the 
operation was repeated until the supply was ex¬ 
hausted. 

To negative any suspicion of a concealed store of 
eggs behind the assistant, the performer now and 
then turned him round with his back to the audience. 
The remaining eggs were in such case temporarily de¬ 
posited in the assistant’s coat-tail pockets, and again 
taken out when he re-assumed his former position. 

Meanwhile Bellachini’s second assistant, a negro, 
had come on to the stage from the opposite side, bear¬ 
ing a small tray, professedly for the reception of the 
eggs produced. Bellachini took it from him, looke'd 
hard at him for a moment, as if noticing something 
peculiar about him, and then suddenly patted him on 
the head, when an egg was seen to appear in his mouth; 
but, with due regard for local colour, it was a black 
one, having been dyed accordingly. Thenceforth Bella¬ 
chini produced from his two human hens a white and 
a black egg alternately, to the no small amusement of 
the spectators. 

A further incident is mentioned by Herr Willmann 
as being sometimes introduced in this trick (though 


403 


Later Magic 

not by Bellachini) with good effect. The performer, 
in the act of putting the supposed pressure on the 
stomach of the assistant, bends down a little. The 
assistant takes the opportunity to give him a gentle 
pat on the top of the head, when an egg (secretly in¬ 
troduced a moment previously) is seen to appear in 
his mouth, and is produced therefrom. As may be 
imagined, this turning of the tables on the professor 
never fails to produce a shout of laughter from the 
audience. 

A SMASHED EGG VANISHED FROM A HANDKERCHIEF. 

This is scarcely a trick in itself, but may now and 
then be introduced with good effect in the course of 
some illusion in which an egg has been used. The 
egg, which is to all appearance, and indeed may be 
in fact, the genuine unprepared article, is ostensibly 
wrapped in a borrowed handkerchief, which some one 
is then invited to hold, grasping it so that the form of 
the egg shall be plainly visible. After a brief interval, 
duly occupied with “patter,” the performer takes it 
back again, and crushes the egg, still wrapped in the 
handkerchief, between his hands. The owner of the 
handkerchief trembles for his nice clean mouchoir, but 
his anxiety proves to be groundless. The performer 
shakes out the handkerchief. The egg and its con¬ 
tents have vanished into the Ewigkeit, and the hand¬ 
kerchief is returned, not a whit the worse for having 
assisted in its annihilation. 

The secret lies in the fact that the performer is pro¬ 
vided with a blown egg, encased in a little bag of soft 
silk. To this is attached a short length of silk thread, 
at the opposite end of which is a bent pin. By means 


404 


Later Magic 


of this the silk bag is secretly attached to the hinder 
side of the handkerchief, so as to hang, when the 
latter is spread out, as nearly as possible behind its 
centre. When the performer professedly wraps the 
real egg in the handkerchief he palms it, substitut¬ 
ing for it the covered egg-shell. After crushing this 
within the handkerchief, he spreads out the latter, of 
course with the little bag to the rear. At the first 
convenient opportunity he palms this off, when the 
handkerchief is again in a condition to be returned to 
the owner. 

In another method of egg-vanishing the secret lies 
in the handkerchief itself, which is of silk, and has a 
slit, just large enough to allow the passage of the egg, 
in its centre. The performer spreads this over the 
palm of either hand, taking care that the slit shall not 
be noticed, and lays the egg upon it. He then pro¬ 
ceeds to wrap it up in the handkerchief, during which 
process it is allowed to slip through the handkerchief 
into the hand, where it is palmed. With the opposite 
hand he picks up the little bundle, and with the hand 
which holds the egg picks up from his table a small 
tray, in so doing allowing the egg to fall into a bag 
servante. The folded handkerchief is laid on the tray 
and offered to some lady, who is requested to hold the 
handkerchief tightly, that the egg may not escape. As 
soon as she takes it in hand she naturally makes the 
remark that the egg is no longer there. Professing 
surprise, the performer takes back the handkerchief, 
and opens it to verify her assertion. This he does by 
again spreading it over the hand, picking it up by the 
centre so as to conceal the slit and shaking it out. 


Later Magic 405 

The egg is then reproduced elsewhere, as may suit the 
intended denouement of the trick. 

THE DIMINISHING EGG. 

This again is scarcely to be regarded as a trick in 
itself, but may very well be introduced as a sort of 
after-thought, forming a neat magical finish to some 
trick in which an egg has already figured. 

The egg previously used, which we may suppose to 
have been submitted to some amount of examination, 
is secretly exchanged for a 44 nest” of three eggs, prefer¬ 
ably of celluloid or ivorine. Of these the two larger 
are hollow, lined with some soft material. Each has 
in one side of it an oval opening large enough to allow 
the passage of the next in size. The smallest of the 
three is solid. 

The three eggs (one within the other, and therefore 
in appearance one only) are exhibited, with the open¬ 
ings downward, on the open left hand of the per¬ 
former. Bringing the hands together, he palms off 
the largest egg, and while the general attention is 
drawn to the diminished size of the one remaining in 
the left hand, drops this into the profonde. The 
second hollow egg is then palmed off in like manner, 
and got rid of while handing the solid egg for examina¬ 
tion. When this latter is returned, it is ostensibly 
handed to some other person for inspection, and got rid 
of in transit by the 44 tourniquet. ’ ’ This final ‘ ‘ vanish ’ 
brings the feat to a fitting magical conclusion. 

TO VANISH AN EGG FROM THE HAND. 

To palm an egg comfortably, it should lie length¬ 
ways across the second and third fingers, and at the 


406 


Later Magic 


same time be clipped between the tips of the first and 
fourth. Held in this position, it can be palmed with 
great facility. This method is also the best for palm¬ 
ing a cork. The shape of the egg, however, favours the 
use of another sleight, which may be employed as an 




alternative. The egg is held in, or rather on, say, the 
right hand, as shown in Fig. 175. The left hand ap¬ 
proaches, and apparently grasps it, raising it some¬ 
what aloft, followed by the eyes of the performer. As 
a matter of fact, however, it is allowed to slip down 
into the right hand, where it is palmed by a slight 






Later Magic 


407 


contraction of the last three fingers, the forefinger 
meanwhile being extended and pointing to the left 
hand. Fig. 176 gives a view of the right hand on the 
side not seen by the spectators. After the lapse of a 
moment or two the left hand rubs the egg away, and 
is shown empty, the right hand immediately afterwards 
producing it from under the knee, or from the pocket 
of a spectator. 

If found more convenient by the performer, the 
functions of the two hands may be reversed, the egg 
being exhibited in the left hand and professedly re¬ 
moved by the right. 

One method of vanishing an egg by means of a pull 
has been already described. In another the egg is arti¬ 
ficial, and the free end of the pull terminates in a 
small narrow cork, such as is used to cork a medicine 
bottle. The cord is passed through this (from the 
larger end) and secured by a knot on the opposite end. 
In the larger end of the egg is a cavity, tapering to 
correspond with the shape of the cork, but so as to be 
rather a tight fit. By the aid of this arrangement the 
egg can be attached to the pull with great ease and 
with perfect security. 

A SPECIAL EGG VANISHER. 

I am indebted to Messrs. Hamley Brothers for the 
knowledge of another ingenious form of egg vanisher. 
This consists of a flat semicircular pocket of black 
glazed calico, illustrated in Fig. 177. In length it 
is 5^- inches, e\ 3 th a little over 3 inches. The 
mouth is nor t closed by the action of two 



*04 to 


408 


Later Magic 


straight pieces of clock-spring, each enclosed in a hem 
at the mouth; but may be opened by pressure on the 
ends of these, after the same manner as the well-known 
bag used for producing sweets from a handkerchief. 
The pocket is kept in shape by means of a stiff wire 
passing round the semicircle on the inside. 

At the point b is an eyelet, to which is attached a 
piece of cord elastic, with a loop on its free end. This 
loop is secured to one of the brace-buttons of the per¬ 
former on the right side. The vanisher is then passed 
inside the braces at the back of the left side, where it 
is secured, by means of the wire loop a, to a dress-hook 



Fig. 177. 


sewn to the lower edge of the performer’s vest, and just 
covered by the coat. 

When the performer desires to vanish an egg, he 
shows it in the right hand, standing so that his left 
side is turned away from the spectators. Under cover 
of his own body he gets the vanisher into the left hand, 
slipping the second finger into a, and holding the little 
bag lengthwise between this finger and the thumb, 
which grips it just under b. He then turns so that his 
left side shall be brought forward, brings the hands 
together, opens the bag by pressure on the ends as 
already explained, and drops the egg therein; then 
simultaneously extends the arms and releases the fake, 
which forthwith flies back under the coat. The effect 


Later Magic 


4i3 


magically into another, but there is no further point 
of similarity between the two, the methods of working 
being radically different. The illusion I am about to 
describe is in fact two distinct tricks combined, the 
mode in which the eggs are made to disappear from 
the first hat being the invention of Professor Bellonie, 
while the manner of their reproduction is, I believe, a 
device of the ingenious Herr Willmann. Either pro¬ 
cess may, if preferred, be used alone, or in combination 
with some other of the tricks described in this chapter. 

First, as to the disappearance. Four eggs, after being 
shown on a plate, are placed one by one in a borrowed 
hat. A handkerchief, likewise borrowed, is passed 
over it for a moment, and shaken out in the direction 
of another borrowed hat, which rests, mouth down¬ 
wards , on a table at some distance. The first hat is 
then shown empty. 

This done, the performer, baring his arms to the 
elbow, takes the second hat by the brim, still mouth 
downwards, in the left hand. Reaching up into it 
with the right hand, he brings down an egg, and lays 
it on the plate, then another, and so on, until all four 
£iave been reproduced. Taking one of the eggs in his 
e gjt hand, he picks up the plate with the other, and 
-t-vings all forward for inspection. He offers the eggs 
,n the plate first. When these have been handed to 
different spectators, he says: “And now, perhaps, you 
would like to look at this one” (the one in the left 
hand). He offers it accordingly, but the hand is 
empty, this particular egg having once more van¬ 
ished. 

Now as to the modus operandi. The disappearance 
)f the three eggs from hat No. 1 is accomplished by the 


4 T 4 


Later Magic 


aid of a little network bag, just large enough to con¬ 
tain four eggs comfortably, and kept distended at the 
mouth by a piece of wire, bent into a triangle; one 
side being slightly curved so as to accommodate itself 
the better to the shape of the hat. To the centre of 
this curved side is soldered a little sharp-pointed hook, 
directed downwards; and this, during his journey back 
to the table after borrowing the hat, the performer 
hooks into the leather lining. The eggs, when placed 
in the hat, are in reality deposited in this bag. In the 
act of depositing the last he detaches the bag and lets 
it lie loose in the crown of the hat. When he takes 
the handkerchief to spread it over the opening, his 
wand is in his right hand. He does not lay it down, 
but holds it, pointing downwards, behind the hand¬ 
kerchief. Near the lower end of the wand is a little 
hook, or a mere needle-point, sloping upwards. In 
the act of covering the hat he lowers the wand into it, 
and engaging this hook into that of the little bag, lifts 
out the latter behind the handkerchief, and lets it 
drop into a bag servante fixed in readiness behind the 
table, the hat being thereby left empty. 

Such is Professor Bellonie’s method of working the 
disappearance. It is decidedly ingenious, but I should 
imagine would, as to the last part, be very difficult 
to work satisfactorily; apart from the fact that the 
holding of the wand behind the handkerchief seems 
awkward and unnatural. I venture to suggest as an 
improvement that the performer should use, in place 
of the wand, a piece of stiffish wire, about six inches 
in length, fashioned at the lower end into a hook, and 
at the upper into a loop, just fitting over the thumb. 


4 i 5 


Later Magic 

This could be easily manipulated behind the hand¬ 
kerchief, and, when it had served its purpose of picking 
up the little bag, might be dropped with it into the 
servante. 

For the reproduction of the eggs from the second 
hat another appliance is used. This consists of a little 
conical bag, of network or soft silk, closed at the mouth 
by a rubber ring, and having at its opposite end a 
little hook, for attaching it to the lining of the hat. 
In this are placed four eggs, three of them genuine, the 
other a hollow egg of celluloid, with an oval opening 
in one side. This is placed in the bag first, so that it 
shall be the last to be produced. The bag, thus loaded, 
is hooked to the vest of the performer at the left side, 
about the height of the armpit, and covered by the 
coat. When borrowing the hat, he receives it in the 
left hand, holding it mouth downwards, and during 
his return to the stage, hooks the little bag into the 
lining, as near the crown as possible. The hat being 
placed on the table, still mouth downwards, no one is 
at all likely to suspect that it contains anything. 

After the eggs have been vanished from hat No. i 
and wafted by the handkerchief in the direction of 
No. 2, the performer bares his arms and produces the 
four eggs, squeezing them out of the little bag one 
after another as already described. Before producing 
the last (which it will be remembered is the hollow 
egg), he unhooks the little bag, and deftly packs it 
inside the egg, which he then lays, opening down¬ 
wards, with the others on the plate. 

Having returned the two hats, it occurs to him that 
the audience may like to examine the eggs. Picking 


416 


Later Magic 


up the hollow egg in the right hand, he makes believe 
to place it in the left, really palming it in the right. 
He makes a step towards the audience with the left 
hand extended (half closed as if holding the egg), but 
bethinking himself that the .company may like to ex¬ 
amine the other eggs also, he steps back, and with the 
right hand picks up the plate containing them, in so 
doing letting the palmed egg fall on the servante. 
The eggs on the plate are examined, and found void of 
preparation. That professedly in the left hand is like¬ 
wise offered for inspection; but is found to have 
somehow dematerialized itself in transit, for the hand 
is empty. 

As regards this portion of the trick also, I venture to 
offer one or two suggestions. First, that it would add 
to the effect of the trick if the performer, before pro¬ 
ducing the first egg, were to turn down the leather 
lining of the hat; otherwise it might possibly be im¬ 
agined that the eggs rested on the lining and were 
produced from thence. As the reader is aware, the 
suspicion would be unfounded, but the mere possi¬ 
bility of such an explanation tends to discount in 
some degree the effect of the trick. 

Secondly, as to the final vanishing of the hollow 
egg. It seems to me that a better plan would be to 
bring forward all four eggs on the plate, and after 
handing the three unprepared ones to different spec¬ 
tators, to pick up the hollow egg with the left hand 
and with the right to offer the plate to a fourth spec¬ 
tator, with the remark: “Perhaps you, sir, will ex¬ 
amine the plate.” Then, apparently transferring the 
egg from the left hand to the right by means of the 


4 i 7 


Later Magic 

“ tourniquet, ” say, looking about from one to another, 
“And who will examine this last egg?” While the 
right hand apparently offers it to the spectator, the 
left drops it into the profonde. 

It is obvious that the two stages of the trick may 
be reversed, if preferred; the eggs being first pro¬ 
duced from the one hat, and then made to disappear 
from the other. This, in fact, is the order of proced¬ 
ure indicated by Herr Willmann. The reader can suit 
his own taste in this particular. 

NEW EGG AND TUMBLER TRICK. 

This neat little trick, for which magicians are in¬ 
debted to another German wizard, Herr Hans Meckel, 
illustrates a further use of the bottomless tumbler, 
described at page 92. 

In effect it is as follows: A tumbler, previously ex¬ 
amined, is placed upside down on a tray on the table, 
and a borrowed handkerchief is thrown over it. When 
this is removed, an egg is seen beneath the glass. 
Again the handkerchief is thrown over the glass, and 
removed; when the egg is found to have disappeared. 

The effect produced is too quickly over to be worth 
making an independent item of a programme, but will 
serve well enough as “padding” for some other trick 
which may need amplification. As I have hinted, a 
large part of the secret lies in the use of the bottomless 
tumbler. If possible, it should be contrived that a 
glass of similar appearance, but unprepared, is used in 
some previous trick, in which case it should be an easy 
matter to substitute the one for the other. If this is 
not possible, the faked glass must be exchanged for 

27 


418 


Later Magic 


the other (just examined) during the return journey 
of the performer to his table, and the latter dropped 
into the profonde. The bottomless glass is then left 
inverted, on the tray at one end of the table, while the 
performer borrows a handkerchief. In a bag servante 
behind the table, at the opposite end to that at which 
the tray is placed, is a celluloid egg, to one end of which 
is attached a black silk thread about nine inches in 
length. This is laid along the edge of the table. At 
its free end is a loop of fine wire, an inch and a half in 
length, and large enough to admit the thumb. 

The operator, having obtained the loan of a hand¬ 
kerchief, spreads it out on the table, just in front of 
the servante above mentioned. When about to throw 
it over the glass, he picks it up by clipping the two 
nearest corners between the first and second fingers of 
each hand, and at the same moment inserts the right 
thumb into the wire loop, 1 thereby lifting the egg, 
which is then, under cover of the handkerchief, gently 
lowered into the glass and in due course exhibited. 
When the handkerchief is thrown over the glass for 
the second time, the thumb is again inserted into the 
ring (which is naturally left hanging just outside the 
glass); the egg is lifted out of the glass, and allowed 
to drop back into the net. 

AN ILLUSTRATION OF FREE TRADE PRINCIPLES. 

A trick with the above title, derived from a French 
source, was described in Drawing-room Conjuring (p. 

1 The insertion of the thumb may be facilitated by bending the 
outer end of the wire loop, so that it may curve slightly upwards as 
it lies on the table. 


Later Magic 419 

125). 1 The present is a German and more elaborate 
version of the same trick. 

The requirements for the trick are as follows: 

1. A candlestick with candle, unlighted. 

2. A match-box, placed beside it, with the drawer 
portion pushed partly open, and a small silk handker¬ 
chief packed into the space thereby left vacant. 

3. A bottomless tumbler. 

4. A rummer or round-bellied wine-glass. 

5. A carafe of water. 

6. A mechanical egg-cup, as described at page 
392 . 

7. The half-shell belonging to the egg-cup, loaded 
with a second silk handkerchief, corresponding with 
that in the match-box. 

8. A second half-shell, of clear glass. 

The above articles should be placed together on a 
small table; Nos. 1-6 in full view, Nos. 7 and 8 hidden 
behind some other article. 

In addition to the above items, the performer carries 
on his own person: 

9. In pochette on right side, a hollow finger, as 
described at page 209. 

10. In the left coat-tail pocket, an egg wrapped 
tightly in a third silk handkerchief, of same appearance 
as the first two. 

11. Just inside the opening of the vest, on the left 
side, a hollow egg of celluloid or metal, with opening 
at its smaller end. The egg should be placed with this 
open end outermost, i. e., nearest to the opening of the 
vest. 

12. Hanging by a piece of cord elastic under the 

1 George Routledge & Sons. 



420 Later Magic 

coat, on the left side, an egg-holder, as described at 
page 394. 

13. Vested in the ordinary way, a genuine egg. 

Thus provided, the performer is ready to show the 
trick. The patter suggested by the German adapter 1 
is very well conceived, and I cannot do better, in the 
interest of the reader, than give a free translation of it. 

“Ladies and gentlemen, it is a frequent boast of 
conjurers that they work without apparatus, and 
make use only of every-day objects. I go still further; 
I begin my experiments with nothing at all. I stand, 
before you absolutely empty-handed. No magic wand; 
no anything! What I may need for my performance 
I shall borrow from yourselves, or create from nothing 
on the spot. Could you, sir, oblige me with an egg ? 
You have n’t one? Surely you are joking, sir. I 
have private information to the contrary. You cer¬ 
tainly have one, and here it is.” 

In the course of his patter, the performer has got 
down the vested hen’s egg, and produces it from the 
beard or from inside the vest of the gentleman ad¬ 
dressed. “Now I shall want a small silk handker¬ 
chief. What! you can’t oblige me with that either? 
Never mind, we will soon get one.” So saying, he 
draws up his sleeves a little and shows the hands 
empty. Picking up the match-box from the table, 
he takes out a match, strikes it, and lights the candle. 
This done, he closes the box, thereby pushing out the 
handkerchief into the left hand. Running the hand 
smartly up the candle, he produces the handkerchief 
as if from the flame, and after exhibiting it tucks it 
1 Die Zauberwelt, Vol. ii., page 22. 


Later Magic 421 

into the front of his vest, just over the concealed hollow 

egg. 

“ Good. We now have all we need. I shall now have 
the honour to deliver for your benefit a short address 
of a scientific nature. You need not be afraid; it 
won’t last more than an hour, at most. The subject 
will be that much disputed question, ‘ Protection versus 
Free Trade.’ Perhaps one of you gentlemen would 
kindly assist me in the practical illustration of my 
address. Thank you! Stand here, sir, if you please. 

“Now we will consider that you represent agricul¬ 
tural France, while I stand for England, the great 
manufacturing country. This little handkerchief’’ (he 
indicates the one he has just tucked into the front of 
his vest) “is an English product, and this egg is a 
product of France.” 

He picks up the egg-cup, and apparently places the 
egg therein, but in reality deftly substitutes the half 
egg, which, when in position, has the appearance of 
the real one. He obtains from some gentleman the 
loan of a handkerchief, with which he covers both. 
“Eggs must be carefully packed,” he remarks, and 
during the moment in which, with one hand, still 
covered by the handkerchief, he hands the egg-cup to 
his volunteer assistant to hold, he turns over the half 
egg in the cup, thereby uncovering the little silk hand¬ 
kerchief with which the half egg was loaded. The 
gentleman is requested to hold the handkerchief high 
above his head, so that neither he nor the spectators 
are able to perceive that the supposed egg is no longer 
under the handkerchief. 

“On the one side, therefore, we have a superfluity 
of eggs, and on the other an overplus of manufactured 


422 


Later Magic 


articles. Now, if no protective duties stopped the 
way, to exchange them would be an extremely simple 
matter.” 

Here he takes the silk handkerchief from the open¬ 
ing of the vest, and with it, unknown to the spectators, 
the hollow egg. Moving the hands up and down, he 
gradually works the handkerchief into the egg, which 
he then exhibits, keeping the opening out of sight. 

“You see that the egg has come to England, and we 
shall find that the handkerchief has passed to France, 
neither of them paying any duty. That is the prin¬ 
ciple of free trade.” 

He uncovers the egg-cup and shows that the egg 
which was placed therein has left it, the silk handker¬ 
chief having taken its place. Taking this, and tucking 
it into the front of his vest as before, he places the 
hollow egg, opening downwards, in the egg-cup, pre¬ 
viously, however, dropping in the glass half-shell, so 
that the egg rests inside this. These he places, for 
the moment, on one side, and continues his oration as 
follows: 

“ We have railways, telegraphs, telephones, and wire¬ 
less telegraphy, but one thing is still wanting: an aerial 
parcel post, to flash goods quick as thought from point 
to point through space, wherever we may wish to send 
them. It would be a capital idea, it seems to me, to 
get up a company for that purpose. Let us suppose, 
for instance, that this glass” (the bottomless tumbler) 
“was the distant point to which the egg and this little 
handkerchief had to be transported. Might I ask you, 
sir, to cover the glass with your own handkerchief, or 
let me do so, and put this rubber ring round it to keep 
it in place? ” 


Later Magic 


423 


This is done accordingly, with due precaution that 
the lender of the handkerchief shall not discover the 
bottomless condition of the tumbler. Meanwhile the 
performer has got the wrapped-up egg from his coat- 
pocket, and in taking back the covered glass intro¬ 
duces this into it from below. Keeping the egg 
from falling out with his finger, he places the glass on 
the table, or still better on a tray, the wrapping of 
the egg in the handkerchief preventing any rattling 
against the sides of the glass. This done, he takes the 
hollow egg out of the egg-cup and the handkerchief 
from the front of his vest. He places himself at some 
little distance from the table; meanwhile, under cover 
of these various movements, getting the egg-holder 
(No. 12) into his left hand. Inserting the egg, open 
end outwards, into the holder, he proceeds to work the 
handkerchief into the egg (this already holds one 
handkerchief, but has ample space for two) and then 
vanishes the whole under the coat. 

“The egg and handkerchief are gone, you see” (he 
shows his hands empty). “Doubtless by this time 
they have both reached their destination.” He un¬ 
covers the glass, unrolls the silk handkerchief from the 
egg which is therein, and reveals the egg. He places 
the latter in the egg-cup, which, it will be remembered, 
still contains the glass shell. While doing this with the 
left hand, the right hand goes in search of the hollow 
finger, which is slipped over the ring finger; all being 
made safe by his immediately afterwards throwing the 
silk handkerchief over this hand. 

“ I began with nothing, and with nothing I propose 
to conclude.” 

Bringing the hands together, he draws off, under 


424 


Later Magic 


cover of the handkerchief, the hollow finger; works 
the handkerchief into it, and then places it between the 
second and third fingers of the left hand, and shows 
the hands, moving them gently about, apparently 
empty. 

Moving to the table, he gets rid of the false fin¬ 
ger, and, taking the round-bellied glass, fills it with 
water. He then takes the egg-cup and inverts it. 
The egg drops into his hand, the glass half-shell cover¬ 
ing its upper end. Over this he immediately throws a 
borrowed handkerchief; then, grasping the half-shell 
round its lower edge through the handkerchief, he with 
the other hand palms and removes the egg, which he 
forthwith drops into a pocket. He invites any one to 
feel (from above) that the egg is still in the handker¬ 
chief; then handing the glass of water to some spec¬ 
tator to hold, he drapes the handkerchief over it, and 
asks the same or another person to take hold of the egg, 
but the moment the hand is advanced to do so, he 
himself lets go. The handkerchief is drawn off, and 
the egg has disappeared, the shell from its trans¬ 
parency being invisible in the water. 

The shell should be allowed to fall somewhat askew 
in the water. If it falls too squarely, the air within it 
might not immediately escape, and instead of sinking 
at once, it might float for a moment or two, with 
fatal effect so far as this part of the illusion is con¬ 
cerned. 

“Everything has now disappeared, and we are now 
just as we began. So, not to weary you, ladies and 
gentlemen, I will myself disappear.” Which he does 
accordingly, temporarily or permanently, as the case 
may be. 


Later Magic 

EGGS FROM NOWHERE, AND BACK AGAIN. 


425 


A pretty sequel to the magical production of eggs, 
after one or other of the methods described at pp. 396- 
399, is as follows: The eggs, when produced, are placed 
one by one in a hat. When all are deposited, the per¬ 
former undertakes to dematerialize them. The hat 
is covered with a handkerchief, under pretence that 
warmth is necessary for the process. A moment later, 
the handkerchief is removed and shaken out, both sides 
being shown. The hat is turned over, and is found 
empty, the eggs having completely disappeared. 

The secret here lies in the use of a bag-shaped, wide¬ 
mouthed net of fine silk, round the edge of which is 
threaded a cord, after the usual fashion of such bags; 
so that by pulling the cord the mouth is closed. The 
cord is longer by some inches than is needful to go 
round the circumference of the bag, and to its free end 
is attached a ring of thin wire, the size of a shilling. 
This net, with its mouth open, is vested, or otherwise 
concealed about the performer’s person, and intro¬ 
duced into the borrowed hat during the transit to the 
table. The performer then commences the production 
of eggs. As they are produced, he lays them one by 
one in the hat, taking care to lay them well inside the 
mouth of the net. As eggs are naturally handled with 
a certain amount of caution, he has ample oppor¬ 
tunity to arrange the net to suit his convenience, and 
in so doing he picks up the surplus cord, and places it 
so that the wire ring shall hang just over the brim of 
the hat, on the hinder side. The intended number of 
eggs, say four or five, being complete, he covers the 
hat with the handkerchief. He picks it up again by 


426 


Later Magic 


clipping its two nearest corners between the first and 
second fingers of each hand. The thumb, thus left 
free, is inserted in the wire ring. The act of lifting the 
handkerchief pulls the cord and closes the net, which, 
with its contents, is lifted up behind the handkerchief 
and dropped into a bag servante. Both hat and hand¬ 
kerchief may, of course, now be submitted to the 
closest inspection, as there is nothing about either to 
reveal the secret. 

If the performer cares still further to elaborate the 
trick, he may bring it to a very effective conclusion by 
offering to show the audience “how it is done.” The 
eggs, he explains, are really still in the handkerchief, 
but for the time being in a dematerialized condition. 
They will, however, again materialize at his command. 
In proof of his assertion, he proceeds to pour the eggs 
one by one from the handkerchief into the hat, after the 
manner described in More Magic , pp. 330-332. As, 
according to the usual termination of the trick, the 
eggs will again have vanished, the audience can hardly 
dispute his assurance that “ that is just the way they 
went” on the former occasion. 

AN EGG-LAYING HAT. 

There are one or two different versions of this trick. 
That which I am about to describe, and which is one 
of the most ingenious, is the invention of a conjurer 
named Marcellin. 

The effect of the trick is as follows: The performer 
brings forward a small circular Japanese tray, filled 
with bran. This, after having been duly inspected, is 
placed upon a small table. Upon another table, at a 


Later Magic 427 

little distance, is a tall hat, the performer’s own prop¬ 
erty, standing mouth upwards. 

After showing his hands empty, he grasps the hat by 
the brim, and turns it upside down. Then, placing the 
finger-tips on each side of the crown, he lifts it up, and 
lowers it carefully over the tray of bran. He explains 
to the audience that the hat is the abode of an invisible 
hen. At first, he says, she laid invisible eggs, which 
was the reason for keeping her in the hat, so as to know 
where to find them, and to prevent people stepping on 
them unawares. Now, however, she has come to see 
the error of her ways, and lays them in visible shape. 
If the performer is ventriloquist enough to introduce at 
this point a slight “ clucking ” under the hat, so much 
the better. In any case, when he lifts the hat (which 
is again done by the crown, in order to prove “no 
deception”), an egg is seen resting in the nest formed 
by the bran on the tray. The effect may be repeated, 
if desired, until three or four eggs have been produced 
in similar fashion. 

The secret lies in a special preparation of the hat. 
The eggs are of celluloid, and each has a minute hole 
drilled through it from end to end. Through this is 
passed a needle, carrying a piece of black silk thread 
doubled in half. The diameter of the hole in the egg 
is so small as only just to allow the passage of the 
doubled thread. The egg, therefore, can be drawn 
off the thread at pleasure, but will not fall off by its 
own weight. The needle, having about six inches of 
the double thread between it and the egg, is now 
passed from within through the crown of the hat. 
The egg is drawn up close to the crown, and the needle 
stuck into the hat on the side which is intended to be 


428 


Later Magic 


kept away from the spectators. Any surplus thread 
projecting from the lower end of the egg is cut off, 
leaving only half an inch or so remaining, the general 
result being as shown in Fig. 180. 

The hat, thus prepared, is placed on the table in the 
first instance mouth upwards, but shortly afterwards 
turned over, as already described. When the per¬ 
former lifts the hat by the crown, apparently to show 
that he introduces nothing beneath, he has ample op¬ 
portunity to get a finger under the thread. By pulling 
on this a little the thread is drawn through the egg, 
which is thereby freed, and falls on to the bran. 




Fig. 180. 


Where it is desired to produce a second or third egg 
the performer is instructed by the inventor of the trick 
to attach them to the hat in the same manner as 
described for the first. He even suggests that a 
circle of eggs may be formed all round the hat, with 
one in the centre. This, it appears to me, would be 
scarcely a desirable arrangement. On the other hand, 
it would seem feasible to suspend two, or even three, 
eggs on one thread, and produce them one at a time. 
If it were found that the additional weight made the 
eggs come off too freely, this might be neutralized by 
slightly waxing the ends of the thread before cutting 
them short, and thereby, in some small degree, increas¬ 
ing the amount of friction.. 





Later Magic 


429 


A NOVEL EGG-BAG TRICK. 

The egg-bag, in its ancient form, has been done to 
death, and at the present day is relegated to the wizards 
of the schoolroom. But, in the improved version of 
the trick which I am about to describe, a similar effect 
is produced by wholly different means, and the clever 
gentleman who always knows “how it’s done” will in 
this case find himself baffled, for he may turn the bag 
inside out in search of the suspected inner pocket, but 
will find nothing whatever to explain the mysterious 
appearances and disappearances of the egg. 

For the purpose of the trick, two celluloid eggs are 
used, with a half-shell, fitting indifferently over one 
end of either of them. The “ bag,” made of tammy or 
some similar material, is of the usual small size, viz., 
about six inches by eight, and has no lining or other 
speciality. 

The performer begins by borrowing a hat and in¬ 
viting some one to come upon the stage and assist him. 
The bag is handed to the volunteer assistant, who is 
requested, after examining it as minutely as he pleases 
and making sure that there is nothing in it, to hold it 
with both hands, keeping the mouth open by inserting 
a forefinger at each end. Meanwhile, the performer 
exhibits the two eggs, over one of which is the half¬ 
shell, its presence being concealed by the forefinger, 
encircling the egg. The hands are moved about in 
such a way as to show that, save for the two eggs, they 
are empty. The spectators having had sufficient op¬ 
portunity to convince themselves on this point, the 
performer lays both eggs on the left hand, the half¬ 
shell being palmed off and retained in the right. His 


430 


Later Magic 


next step is to place both eggs unmistakably in the 
hat, but, having done so, he changes his mind, re¬ 
marking that it will be better to put one egg only in 
the hat and one in the bag. He accordingly dips the 
right hand into the ’hat, and takes out, apparently, 
both eggs, but in reality one egg only and the half¬ 
shell, held as in Fig. 181. Remarking that he will 
leave one egg in the bag, he dips his hand in and 
brings it out again with one egg only, having ap¬ 
parently left the other in the hat. As a matter of 
fact, what he really brings out is the solid egg with 



Fig. 181. 

the half-shell over it, so that the bag remains empty. 
The egg remaining in the hand, with the half-shell over 
it, he places in the hat. Professedly there is now one 
egg in the bag and one in the hat. 

Ordering the (imaginary) egg in the bag to pass into 
the hat, he dips his hand into the latter and produces 
thence two eggs, with the shell over one of them, 
again appearing just as shown in Fig. 181, but with 
this difference, that the second solid egg now rests 
under the shell. The bag is examined, and found 
empty. 

The volunteer assistant is requested to hold the bag 
as before, but in handing it to him, the performer 



Later Magic 


43i 


deftly drops into it the egg concealed under the shell. 
The appearance of the hand is unaltered, the spec¬ 
tators still seeing, as they believe, two eggs. After 
placing these in the hat the performer orders one of 
them to pass back to the bag, where it is in due course 
found. 

The egg really placed in the hat is reproduced with 
the shell over it, as one only, and the hat shown empty. 
The shell is palmed off, and the two eggs and bag are 
once more offered for examination. 

An ingenious performer, once acquainted with the 
principle, will find numerous ways of varying the trick. 
For instance, after showing the trick as above, the per¬ 
former might explain that the egg really passes through 
the crown of the hat. Nobody believes him; so he 
proceeds to prove his assertion. Holding the egg en¬ 
circled by the finger and thumb of right hand, with 
the half-shell on its upper end, and taking the hat in 
the same hand, he shows the latter on all sides. All 
can see that it is empty, and that there is but one egg 
in the hand. He then transfers the hat to the left 
hand, and in so doing drops the egg into that hand, 
which forthwith grasps the brim of the hat, the egg 
being held against the inside, like the coins in the 
44 money-catching ’ ’ trick. Showing the half-shell, con¬ 
vex end outwards, still between the finger and thumb, 
he rubs it against the crown of the hat, the effect to 
the spectators being that the egg has passed half-way 
through. A moment later he palms the shell, and 
at the same moment the complete egg is allowed to 
fall audibly into the hat, whence it is forthwith pro¬ 
duced. 


432 


Later Magic 


THE RIBBON-PRODUCING EGG. 

The reader has already had several examples of good 
things for which he is indebted to the inventive genius 
of Hartz. This clever little trick is another instance 
of his ingenuity. 

The effect of the trick is indicated by the title. A 
plate of raw eggs is offered for examination. The 
keenest eye cannot detect any sign of preparation 
about them, for as a matter of fact there is none. 1 

The spectators select one at their pleasure. The 
performer, taking that egg and no other, chips the shell 
with a sharp-pointed hammer. Just within the open¬ 
ing a little knot is seen. The performer, pulling at 
this, finds it to be the end of a piece of narrow rib¬ 
bon. Still he continues to pull, until a dozen yards 
or so have been produced, after which he breaks the 
egg, and shows it to be a perfectly natural one. 

The apparatus used is in two parts. The first is a 
spool or reel mounted upon a plate, in such manner that 
it shall revolve freely. This is attached, by means of 
a strap, to the left forearm, just below the elbow. 
On this is coiled some ten or twelve yards of ribbon, 
about one half or three quarters of an inch wide. The 
second item is a brass tube about T 5 ^- of an inch thick, 
and the length of an average hen’s egg, soldered into a 
shallow cup. This cup has a perforation at the bottom, 
corresponding with the bore of the tube. The cup is of 
such a size as just to accommodate the larger end of an 

1 There is a well-known trick in which a coil of paper is produced 
from the interior of an egg (More Magic, p. 339), but in that case 
the egg is a “faked” article, and will not bear minute inspection. 
The great advantage of being enabled to produce the same effect 
with an unprepared egg will be readily appreciated. 


433 


Later Magic 

e gg* (See Fig. 182). The free end of the ribbon on the 
spool is passed through the cup and tube from the 
under side, and secured from slipping back by a knot. 

The eggs used for the trick are not prepared in any 
way, but they must be exactly the right size. To en¬ 
sure this, they are carefully selected beforehand with 
the aid of a gauge, any which are found to be ever so 
little too short or too long being rejected. 

An egg having been selected by the spectators, the 
performer takes it between the thumb and fingers of 



Fig. 182. 


the left hand, wherein the fake is palmed. Taking a 
sharp-pointed hammer, he taps and cracks the broad 
end of the shell. At this point, however, he professes 
to discover that he has begun at the wrong end of 
the egg. He therefore turns it the other way up, 
in so doing forcing the chipped portion over the tube 
and down into the cup. He then taps and breaks the 
small end of the shell. As soon as he has made an 
opening, the knot becomes visible. Seizing this, he 
draws out the ribbon yard by yard, of course quite 
dry, and when the whole has come through, withdraws 
the fake. He moves back to his table to get a glass 

28 




434 


Later Magic 


wherein to break the egg, and takes that opportunity 
to drop the fake on the servante or elsewhere out of 
sight. 

The final breaking of the egg, while adding mat¬ 
erially to the effect of the trick, at the same time (by 
destroying the shell) removes all traces of the method 
of working. 

There is a curious parallelism in this trick with one 
of my own, invented, by the way, long before I had 
any knowledge of Hartz’s trick. The effect produced 
in this case was the production of several yards of 
ribbon from a chosen orange. Though, strictly speak¬ 
ing, out of place in this chapter, inasmuch as it has no 
concern with eggs, it may be interesting, on account of 
the similarity of principle, to introduce it, as a sort of 
parenthesis, at this point. 

THE BEWITCHED ORANGE. 

For this feat the only visible apparatus consists of 
a knife and a couple of small oranges. The latter, if 
the performer is an expert in palming, he may produce 
from the beard or from under the coat-collar of a 
spectator. If he is not conjurer enough for this, he 
must be content to bring them in in more prosaic 
fashion, on a plate. He hands both to the spectators, 
and invites them to decide which he shall use. 

The selection having been made, he takes the chosen 
orange in his left hand, remarking that in the Mahatma 
country—where he comes from—the ladies use this 
kind of orange to tie up their hair. “You don’t see 
how they manage it? I ’ll show you.” So saying, 
he gently rubs the orange with the fingers of the right 


435 


Later Magic 


hand. A moment later he withdraws them with a 
jerk, and an end of narrow silk ribbon is seen hanging 
out of the orange at the point just rubbed by the 
fingers. “Here are the first ten inches or so.” He 
pulls it, and continues to draw till some six or eight 
yards have been produced. When the supply comes 
to an end, he cuts open the orange, which is found in 
a perfectly natural condition, with nothing whatever 
to account for its eccentric behaviour. 

The secret lies in the dexterous use of the little ap¬ 
pliance illustrated in Fig. 183. It consists of a flat 



Fig. 183. 


tin box, with a hole in the centre of its lid. Fixed to 
the bottom portion, inside, is a miniature reel, round 
which is coiled the ribbon, d. The lid portion has a 
circular opening in the centre. A steel bodkin a lies 
across this opening, the “eye” end being inserted 
under a little cross-piece b, while the middle is held 
fast by a spring clip c. A notch filed in the bodkin 
at this point prevents its shifting, the whole having 
the appearance of a clumsy sort of brooch. To pre¬ 
pare the apparatus for use, the inner end of the coil of 
ribbon is drawn out through the hole in the lid, and 
passed, to the length of about i£ inches, through the 





436 


Later Magic 


eye of the bodkin, the loose end being then tucked 
back into the hole, and the bodkin disposed as already 
mentioned. 

The apparatus thus prepared is held in the palm of 
the left hand, the bodkin being upwards, with its point 
guarded by the forefinger. In the act of transferring 
the orange to this hand the performer impales it on 
the point of the bodkin, which he at the same time 
raises out of the clip and thrusts home. The fingers 
of the right hand, which are rubbing the opposite side 
of the orange, feel the point as it comes through. 
They instantly seize it and pull it through with a jerk. 
About a foot of the ribbon comes with it, but the jerk 
detaches the bodkin from the ribbon, the loose end 
of which is left hanging down. Seizing this with 
the right hand (the bodkin remaining concealed in 
the same hand), the performer begins to draw out the 
ribbon. The “fake” in the left hand lying close up to 
the orange, it is impossible that it should be seen 
during the production of the ribbon; and afterwards 
the picking up of the knife to cut the orange affords 
ample opportunity to get rid of it. 

The fake is very neatly manufactured, in brass, by 
Messrs. Hamley, to whom I presented the idea. The 
trick will be found listed in their catalogue under the 
title of “The Chosen Orange and Mystic Ribbon.” 

N. B .—For sundry other tricks in which eggs are 
used, see the chapter treating of “ Handkerchief 
Tricks.” 


CHAPTER XI. 


TRICKS WITH HATS. 



'HE tall hat has always been a special favourite of 


1 the conjurer; indeed, the average wizard would 
find it nearly as hard to keep a hat out of his enter¬ 
tainment as Mr. Dick did to keep a certain royal head 
out of his Memorial. In preceding chapters the hat 
has played a considerable, though to some extent a 
secondary, part. The present chapter will be devoted 
to tricks in which the hat itself forms the most import¬ 
ant “property.” 

Prominent (and, sad to say, universally popular) 
among hat tricks are those in which the article comes 
in for some form of maltreatment at the hands of the 
performer, and in which the unhappy lender suffers 
more or less acute anxiety as to his cherished “ topper.” 
The more uncomfortable he looks, the greater is the 
delight of the spectators. As Mr. Gilbert, in one of 
his Bab Ballads , says,— 


“It’s human nature, p’raps ; if so, 
Oh, is n’t human nature low ! ” 


The conjurer’s mission, however, is not to improve 
the morals of his audience, but merely to amuse them, 
and I do not know that I can better commence this 
chapter than by instructing the reader how 


437 


438 Later Magic 


TO CUT A PIECE OUT OF A BORROWED HAT, AND RESTORE 
IT. 


Having borrowed a tall hat, the performer announces 
his intention of passing something or other, say, an egg, 
as elsewhere described, through the crown. Professing 
to find a difficulty in the matter, he asks whether he 
may cut a hole in the hat. The owner, naturally be¬ 
lieving that the request is a mere joke, gives a more 
or less willing assent to the operation, whereupon the 
performer takes his penknife and cuts a round hole, 
some two and a half inches in diameter, in the silken 
covering of the crown. There does not appear to be 
room for any make-believe, for the hat is clearly the 
same that was lent, and the cut piece hangs loose, ex¬ 
posing a circular patch of the white interior lining. The 
operator begins to cut through this also, but bethinks 
himself (though somewhat late in the day) that if he 
cuts a hole, as proposed, there will not be much magic 
in passing the egg through it. He therefore decides to 
dispense with the aperture, and, as a necessary pre¬ 
liminary, magically restores the hat to its former con¬ 
dition, after which he proceeds with the trick he had 
announced, or some other, near enough to it in effect 
to be accepted as a substitute. 

The secret here depends on the use of a little fake, 
which the reader can without difficulty manufacture 
for himself. The first step is to cut from the centre of 
the crown of an old silk hat a circular piece two and a 
half inches in diameter. The piece cut out will consist 
of two parts: the silk covering and the stiff brown 
material of which the body of the hat is formed. The 
former should be glued to the latter and pressed flat; 


Later Magic 


439 


after which, with a sharp penknife, an inner circle 
with the same centre, but half an inch less in diameter, 
is cut in the disc thus formed. The cut is made com¬ 
pletely through, save as to one inch of the circum¬ 
ference. Here the millboard alone is cut through, the 
silken fabric being left to serve as a hinge. Under 
these circumstances the central piece forms a movable 
flap, which may be made to close the central opening, 
or allowed to hang away from it, at pleasure. 

A second circular disc, of the same size, is cut out of 
cardboard and covered (by means of paste) with some 



Fig. 184. 


white material such as may fairly represent the inside 
lining of a hat. A circle, corresponding with the flap 
of the first disc, is drawn on this, and through the 
marginal space, from the lining side, are driven three 
sharp-pointed drawing-pins. Glue is smeared on the 
space between the inner and outer circumference, and 
the two discs are thereby joined together, pressure 
being used to make them adhere. As there is no glue 
on the centre portion, the circular flap still hangs free 
on its hinge. The edges are blackened throughout. 
In Fig. 184, a depicts the fake with the flap closed, b 
the same with the flap open, and c its reverse side, with 
the three pins projecting through it. 


440 


Later Magic 


When he desires to show the trick, the performer 
palms this appliance, points outwards, and at a con¬ 
venient moment presses it against the centre of the 
crown of the borrowed hat, to which the pins make it 
adhere. 

He then places the hat temporarily on the table, 
the crown towards the company. In so doing, he is 
careful to keep the hinged side of the flap uppermost, 
when it will naturally remain closed. Being black 
upon black, and of the same material as the hat, it 
is invisible at a very short distance. 

On receiving permission to cut a hole in the crown, 
he makes believe to do so, and then, turning the hat 
so that the hinge shall be undermost and the flap fall 
open, shows (apparently) that the deed is really done, 
the white lining being visible through the hole. 
Then, alleging some more or less satisfactory reason 
for going no further, he closes the flap, and a moment 
or two later palming off the fake, he is in a position to 
“restore” the hat in any way he pleases. 

A GLASS OF WINE IN A HAT. 

This is a trick of the farcical order. It is hardly 
adapted for a West End drawing-room, but will be 
found very useful by the conjurer who goes in for 
comic business and who employs an assistant of the 
“funny man” type; the zany who misinterprets every 
order given to him, and whose pretended mistakes are 
the delight of a rustic or schoolboy audience. 

The performer, having borrowed and used a hat for 
the purpose of some trick, passes on to another, leaving 
the borrowed head-gear meanwhile standing on the 


Later Magic 


441 


table. The later trick is one involving the production 
or use of a glass of red wine, say port or claret. He 
hands the glass to the assistant to be placed upon the 
table, but the latter, mistaking his wishes, pours the 
wine into the upturned hat. The wizard, exasperated 
by his stupidity, threatens him with chastisement, and 
finally tells him to take the hat away and try to get 
it clean again. He does so, holding it with both hands 
before him, but just as he passes out at the wing, 
raises it to his mouth, as if to drink the wine. The 
performer calls him back, and he accordingly returns, 
holding the hat before him in its former position, but 
showing streaks of red at each comer of his mouth 
and red splashes upon his shirt front where the wine 
has run down upon it. Taking the hat from him, and 
dismissing him with a make-believe kick, or other 
gesture of disgust, the performer returns with it to his 
table. 

Just as he reaches it, he turns the inside of the hat 
to the spectators. The white lining of the crown, to 
the depth of about half an inch, is stained red. He 
places the hat on the table, and gazing into it with an 
expression of mingled annoyance and perplexity, takes 
out his handkerchief and begins to wipe the interior. 
When he returns the handkerchief to his pocket, this, 
too, bears the crimson stains, but the hat apparently 
is not much the better, for he still sadly gazes into it, 
as if completely at a loss to remedy the damage. 
“No! it is hopeless,” he exclaims; “a stain like that 
will never come out by natural means. Natural—did 
I say? But what about unnatural means! Aha! I 
am saved. The magic wand! What ho! my attend¬ 
ant sprites. Abracadabra!” 


442 


Later Magic 


As he speaks, he describes with his wand a triangle 
(or anything else) upon the crown of the hat, rattles 
the wand within, and forthwith hands it back to the 
owner, free from mark or stain. 

Now for the explanation. At the close of the trick 
for which the hat was originally borrowed, the per¬ 
former hands it to the assistant, telling him to brush 
it. He goes with it for that purpose behind the 
scenes, but instantly reappears, brush in hand, and 
after finishing the brushing operation, places the hat, 
crown downwards, on the table. During his moment¬ 
ary absence, however, he has in reality exchanged the 



borrowed hat for another, the property of the per¬ 
former. 

This contains a cylindrical tin receptacle, like a large¬ 
sized jam pot, as shown (in section) in Fig. 185. It 
will be observed that it is very much smaller internally 
than it is externally, the interior being cup-shaped, so 
that between the inner and outer walls there is a con¬ 
siderable space. At the points a and b, there are holes, 
each about an eighth of an inch in diameter, and at c a 
third, of about the same size; but this last when the 
vessel is in use is plugged with wax. The other two 
holes are left open. The apparatus is so arranged in 





Later Magic 


443 


point of size as to fit the hat pretty closely, the leather 
band lapping just over its upper edges, and helping to 
keep it in position. 

When the glass of wine is poured into the hat, it 
really falls into the tin receptacle. The wine passes 
through the hole a, and runs into the outer chamber, 
where it settles down at the bottom, as shown in the 
diagram. If the hat be now turned over, the wine 
does not escape, but runs down into the angles at the 
sides; the airhole b being so placed that in either 
position of the hat it shall always be above the level 
of the liquid. When, therefore, the assistant pretends 
to drink from the hat, his shirt-front does not in 
reality suffer, but during his momentary absence, he 
makes, with a pencil of red grease-paint, one or two 
marks thereon, and one at each corner of his mouth. 
He also during the same moment changes the hat, the 
one he now brings back being the one originally bor¬ 
rowed. This, however, has been in the interval pre¬ 
pared by inserting an oval-shaped piece of thin paper, 
stained on one side with red, into the crown. The 
paper should be of such a size that when fitted into the 
crown, as above, about half an inch should remain 
turned up all round. 

The handkerchief which the performer uses to wipe 
the hat is beforehand partially stained red, but when 
first exhibited it is so folded that the stained portion 
shall be inside, and therefore not visible. The pre¬ 
tended wiping of the inside of the hat gives him an 
opportunity to crush up and palm the stained paper, 
and further to shake out the handkerchief, and, in 
taking it out again, to exhibit the reddened portion. 

The trick is now done, and it only needs a little 


444 


Later Magic 


dramatic ability in the performer to bring it to an 
effective termination. 

When the performance is over and it becomes neces¬ 
sary to get the wine out of the tin receptacle, this is 
done by unstopping the hole c, and pouring out the 
wine through this opening, neither of the other two 
holes being available for that purpose. 

THE MESMERIZED HAT. 

There are two or three effects which come under 
this heading. The first is the simple lifting of the hat 
by supposed magnetic attraction. The hat is turned 
mouth downwards, and the hand laid, with due 
solemnity, flat upon its crown. When the hand is 
again lifted, the hat adheres to it, and may be waved 
about in any direction. 

One method of producing this effect was given in 
More Magic (page 315). The plan I am about to de¬ 
scribe is simpler, and in some respects, I think, better. 
The active agent is a piece of black thread twenty- 
seven or twenty-eight inches in length, joined to¬ 
gether at the ends. This is laid on the performer’s 
table in the shape of an equilateral triangle, one of 
the sides of such triangle being parallel with the front 
of the table. A borrowed tall hat is placed on this, in 
such manner that its mouth shall lie right across that 
side of the triangle. 

The performer, standing behind the opposite angle 
of the triangle, makes a few remarks about phrenology. 
He professes to have improved upon that science, in¬ 
asmuch as he is able to read a person’s character from 
the mere shape of his hat, without touching his head. 


Later Magic 


445 


He accordingly proceeds to enumerate, according to 
his fancy, a few of the characteristics of the owner of 
this particular hat. 

While doing so, it is natural that he should finger the 
hat a little, as the phrenologist does the bumps of his 
subject, and under cover of this process it becomes an 
easy matter to raise the hinder portion of the thread 
till it comes across the top of the hat, which is thus 
encircled vertically by an endless band. 

The hat is now ready for lifting. Having brought 
his phrenological lecture to a conclusion, the per¬ 
former remarks upon the large amount of animal mag¬ 
netism which some gentlemen leave in their hats. 
Whether such is the case in the present instance he 
cannot say, but he proposes to put the matter to the 
test. Laying his hand flat on the crown of the hat, he 
lifts it up again. At first the hat remains undis¬ 
turbed, but at a third or fourth attempt it adheres to 
the hand and rises with it; the fact being that at such 
third or fourth attempt the performer slips his fingers 
(not the thumb) under the thread. By elevating the 
knuckles, as in the act of forming the “bridge” at 
billiards, the thread is drawn taut (see Fig. 186), and 
the hat may be moved in any direction. 1 

If the little finger be first introduced under the thread 
at the point where it makes an angle with the 
side of the hat, and thence brought to the top, the 
thread will be lifted and the other fingers may be 
passed under it without difficulty. When the trick 
has lasted long enough, the performer breaks the 

1 For all tricks of this sort, the thread used must be thin and yet 
strong. Kerr’s Lustre Twist, No. 36, combines these two qualities 
in an exceptional degree. It may be procured of any haberdasher. 


446 


Later Magic 


thread and lets it fall on the ground, after which the 
hat may be freely offered for examination. 

There is another version of this trick, in which the 
black thread (which in this case is considerably longer) 
is passed over the performer’s head like a necklace, 
hanging down in front of him. While handling the 
hat, mouth downwards, he passes the lower portion 
of the loop underneath it. This done, by pressing the 
fingers on the crown of the hat he forces the latter away 



Fig. 186. 


from him, supported by the thread. The effect is 
that the hat appears to adhere to the finger-tips. 
This, however, is a very inferior method. 

When the conjurer performs on a regular stage, and 
can command the services of two assistants, the trick 
may be brought to a startling conclusion as follows: 
Two black threads of the same length are before¬ 
hand laid on the floor, right across the stage from 
wing to wing. Each pair of ends is attached to 
a little wooden rod, in such manner that the two 
threads shall lie parallel, and be about five inches 



447 


Later Magic 

apart. At the proper moment, each rod is taken 
charge of by an assistant at the wing, and the threads 
thereby lifted and brought forward till they lie across 
the table. Each of the holders then draws the threads 
he holds somewhat apart, and the performer, in re¬ 
placing the hat, just examined, on the table (in this 
case crown downwards) does so in such manner that it 
shall rest (standing sideways to the audience) between 
the threads. These are now lifted till they rest just 
under the brim, and then drawn taut. By appropriate 
manipulation of the threads by the two assistants, the 
hat may be made to fall over with its mouth towards 
the spectators, to resume its former position, then to 
fall over backwards, and finally to rise a foot or so in 
the air, in obedience to the commands of the performer, 
who contents himself with making mesmeric passes at 
it from a distance, and obviously takes no personal part 
in producing its mysterious evolutions. 

When the trick is at an end, the performer simply 
picks up the hat, and restores it to its owner. The 
double thread is moved as far back as the arrangement 
of the wings will permit, and is then laid on the floor, 
as at first. Or, if preferred, one of the assistants may 
cut or break the two threads at his end, when it can be 
drawn clean away by the other. 

A BILLIARD CUE PRODUCED FROM A HAT. 

The production of a barber’s pole from a hat could 
hardly be described as a novelty, being, in fact, one of 
the oldest tricks in the repertoire of the conjurer, and 
having from time immemorial formed part of the 
regular business of the jack-pudding at a country fair- 


44 8 


Later Magic 


But the same idea is still utilized in more up-to-date 
forms. The roll of paper, which, when pulled out 
from its centre, represented the historic “pole,” now, 
a little smaller and differently coloured, does duty as a 
billiard cue, two or three of which may be drawn from 
a hat in succession. The collapsible walking-stick, a 
spiral strip of lacquered steel, working on the same 
principle, though originally introduced as a mere 
curiosity, has been pressed into the service of the 
conjurer, who “produces” it from his own mouth or 
from a borrowed hat with equal facility. One of the 
latest and best productions in this particular line, 
however, is that of an umbrella. This is a speciality of 
the French conjurer, Clement de Lion. The umbrella 
employed would not be of much use in a shower, for 
it has no ribs, though their presence is suggested by 
neat “tips” in the usual position. The secret lies in 
the fact that the stick is telescopic, and when this is 
closed the whole packs into a very small compass, 
and may be loaded into the hat without difficulty. 
Naturally, such an umbrella cannot be “put up.” 

METHODS OF LOADING A HAT. 

At this point I may pause to mention one or two, 
expedients, more or less novel, for “loading” a hat. 
For the knowledge of the following useful little artifice 
to cover a “load,” I am indebted to Mr. John Hamley. 

The intended “load” rests on a servante, behind a 
chair. The performer, unknown to the audience, has 
a billiard ball palmed, while another is in view upon 
the table. After showing the hat empty, he turns it 
mouth downwards upon the chair, at the same time 


/ 


449 


Later Magic 

introducing under it the palmed ball. Then, taking 
the visible ball, and performing one or two “passes” 
with it, he finally decides to pass it under the hat. 
Vanishing it by any one of the many methods at his 
disposal, he lifts the hat with the right hand, and rests 
it for a brief moment on the back of the chair. All 
eyes naturally go to the ball on the chair, to verify 
the fact of its arrival, and meanwhile the operator has 
ample time to introduce the load. 

Where the nature of the load permits, the servante 
may be dispensed with, and the parcel suspended, by 
means of a loop of string or wire, from a hook, or, better 
still, from a straight pin pointing obliquely upwards, 
behind the chair. (See page 23.) A mere upward 
sweep of the hat will then suffice to make the load 
fall into it. 

Another method of hat-loading, suitable for com¬ 
paratively small objects, may here be mentioned. The 
article to be loaded is placed under the vest. The per¬ 
former, holding the hat by the brim with both hands in 
front of him, makes believe to stretch it, under pre¬ 
tence that it needs to be made a little larger for the 
purpose of the trick. While thus holding it to him, 
and apparently pulling at. the sides, he draws in his 
stomach, and the vested article, thereby released, slips 
into the hat. 

Yet another neat hat load may be effected as follows: 
The load is suspended, we will say, by means of a wire 
ring from a sloping point at the back of a chair, as 
above described. Taking the half-sheet of a newspaper, 
the performer shows it carelessly on both sides, and 

29 


45° 


Later Magic 


lays it over the back of the chair. He next borrows 
a hat, which he shows to be empty. He then picks 
up the piece of paper, grasping it by the edge which 
projects behind the back of the chair, and lays it over 
the mouth of the hat. As the reader will have sur¬ 
mised, in picking up the paper he has likewise picked 
up the load, and by the time the paper has settled 
down on the mouth of the hat the load is safely within 
it. 

But there are two ways of effecting this object. 
The paper may be picked up with the thumb above 
and the fingers underneath, in which case the middle 
finger finds its way into the ring and lifts the load off 
its peg. The other, and more natural-looking way, is 
to pick up the paper with the fingers uppermost. In 
this case it must be clipped between the first and 
third fingers above (brought close together) and the 
middle finger below, while the thumb lifts the load off 
the ring. After the load has been secured, the more 
deliberate the performer is in bringing the paper over 
the hat, and dropping the load into it, the better. 

HALF A DOZEN BABIES FROM A HAT. 

The production of a doll from a hat is very old 
“business/’ but the production of half a dozen babies, 
in long clothes, not far short of natural size, is a com¬ 
parative novelty. The construction of the babies is 
as simple as it is ingenious. The head of the child is 
of cotton cloth, normally kept distended by a double 
spiral spring, exactly resembling, save in point of 
size, the springs whereon the familiar “multiplying 
balls” are constructed. The features of a face are 


45i 


Later Magic 

painted on the globe thus formed, and a muslin frill 
sewn round it to represent a cap. Below this head is 
attached the needful amount of thin muslin to repre¬ 
sent a nightgown. 

To prepare it for use, the head of the unfortunate 
infant is crushed flat, and the drapery folded, zigzag- 
fashion, upon it. Half a dozen such dolls, thus 
folded, and tied together, may be introduced into the 
hat at one load. 

This production hardly belongs to the “high art” 
of conjuring, but always goes down well with a juvenile 
audience; and, as illustrating how the less may, on 
occasion, contain the greater, will be found rather sur¬ 
prising, even by children of older growth. 

CLOCKS PRODUCED FROM A HAT. 

Among the various articles which have been ar¬ 
ranged for production from a hat, few are more effective 
than American clocks, of the “nutmeg” variety, with 
“alarm” complete, as illustrated in Fig. 187. Of these, 
five, or even six, can be introduced at one load. They 
have necessarily to be graded down in point of size, 
which in a general way discounts the effect of such 
a trick a good deal, as suggesting that the smaller 
samples are packed (as is the fact) within the larger. 
But in the present case the projection, from each 
clock, of two legs, and a gong at top, seems to exclude 
this idea. 

As a matter of fact, the clocks are packed one within 
the other. The innermost and smallest clock is the 
only genuine one. The others are mere shells with 
slots in their sides, to allow passage for the feet and 


452 


Later Magic 


the stems of the gongs of those within them. The set 
of clocks, when “nested,” appear as depicted in Fig. 
188. The outermost clock is usually first produced, 
and immediately proves its genuineness by starting a 
vigorous alarm. This effect is produced by having, at 
the back of the performer’s table, the essential parts 
of a genuine alarm clock, the train being set in motion 
by electricity or otherwise. 

Some performers have even gone so far as to have 
five alarms behind or inside the table, a fresh one being 



Fig. 187. 


Fig. 188. 


set in motion as each clock is produced. When all are 
sounding at once, the effect can be better imagined 
than described. This, however, is carrying realism 
to a needless extent. 

The last clock, being a going concern, has its own 
alarm, which can be started by a touch from the per¬ 
former. This, being brought forward to the company, 
at once proves its good faith by sounding a tocsin in 
their midst. 

The production of the larger clocks first is the usual 
order of things, but it seems to me open to objection. 
A conjurer should always proceed de plus fort en plus 


Later Magic 


453 


fort; and the production of a diminishing series of 
anything goes against this principle. The smallest 
clock should be first produced, and brought forward 
to prove its genuineness. This being placed on the 
table, the others, gradually larger and larger in size, 
should be produced, and as the first certainly has, and 
each of these apparently has, its own alarm, any doubt 
as to their being real clocks is much less likely to sug¬ 
gest itself. 


FLOWER-BALLS FROM A HAT. 

This is a more up-to-date development of the now 
well-known flower trick of Buatier de Kolta. 1 

A number of balls of tissue paper, six and a half 
inches in diameter, and combining in each all the 
colours of the rainbow, are produced from a borrowed 
hat. As many as a couple of dozen may be introduced 
at a single load, and when produced and hung about 
the stage produce an effect of extraordinary bril¬ 
liancy. The general effect of each ball is that of a 
truss of rhododendron; but no rhododendron, outside 
of fairyland, ever wore the brilliantly assorted colours 
which these balls exhibit. 

To describe the exact principle of their construction 
is impossible in writing. Their component elements 
are circular pieces of tissue paper with scalloped 
edges, as Fig. 189. Of these about a dozen are used 
for a single ball, but the ingenious way in which they 
are folded and attached, the one to the other, can 
only be gathered from minute inspection of the article 
itself. The finished ball, in a folded condition, is as 


1 More Magic , p. 390. 


454 


Later Magic 


shown in Fig. 190. The loop shown in the diagram is 
attached to the centre leaflet, while to each of the two 
outer leaflets is pasted a little flat piece of lead. If 



Fig. 189. Fig. 190. Fig. 191. 


the closed ball is picked up by the loop, each of its 
sides falls outwards, and the whole assumes the appear¬ 
ance shown in Fig. 191, and retains that form as long 
as it remains suspended by the loop. 

BOUQUETS FROM A HAT. 

This is another phase of the same idea, scarcely so 
good, but useful as a change. When closed, the ap¬ 
pearance of the bouquet is as a in Fig. 192. The 
“stem,” which is of cardboard, is double, and when 



Fig. 192. 


opened out and folded back so that the sides originally 
outermost shall be in contact, the bouquet assumes 
the form shown as b in the same figure. 







455 


Later Magic 

It is hardly necessary to remark that the flower-ball, 
or bouquet, as the case may be, is fully developed 
before it is lifted out of the hat. 

Closely allied to the above is 

THE GARLAND OF OAK-LEAVES, FOR PRODUCTION FROM 
A HAT. 

The oak-leaves are stamped out of dark green paper, 
and fastened together in sets of four, with a small hole 
in the centre, as shown in Fig. 193. A still smaller hole 
is made with a bodkin in a disc of black or green card¬ 
board, the size of a shilling. Through this is passed 



Fig. 193. 

one end of a piece of thin black silk cord, about a 
yard and a half long, and secured by a knot, forming 
a loop, on the opposite side. Over the free end of the 
cord are threaded a number of the oak-leaves, each 
group connected with the next by means of a strip of 
thin, tough paper of the same colour, so that they can be 
separated to the extent of an inch or so, but not fur¬ 
ther. The connecting strips do not follow exactly one 
above the other, but on opposite sides of the cord. 
When a sufficient number of the oak-leaves have been 
threaded on the cord, its free end is passed through a 
hole made transversely through the centre of a little 



45^ 


Later Magic 


wooden reel, about an inch and a half in length by 
three eighths of an inch in diameter, where it is se¬ 
cured by another knot and loop. The cord is now 
tightly rolled up on this reel, the oak-leaves being 
thereby pressed into a compact packet. The reel may 
either be kept in position by a strip of green paper 
pasted across it, or by merely turning the oak-leaves 
down over it, and securing the roll thus made with a 
rubber ring, or a bit of thread. 

When the packet has been got safely into the hat, 
the performer must in the one case break the strip of 
paper, or in the other remove the encircling thread. 
Then, taking hold of the card disc, he slowly raises it 
from the hat, at the same time shaking the packet. 
The little reel unrolls and the leaves fall apart into a 
pretty garland. 

Three or four of these may easily be introduced at 
one load, and, if festooned about the stage by means 
of the loop at each end, make a very pretty appear¬ 
ance. 

The centre hole in each group of leaves must be 
large enough to let the cord pass through freely. The 
weighting with lead foil of the final leaf, i. e ., the one 
which comes nearest the roller end of the cord, will 
make the garland develop itself with greater ease and 
certainty. 

A CAKE BAKED IN A HAT. (IMPROVED METHOD.) 

The cooking of a cake or pudding in a hat is one of 
the oldest of conjuring tricks. The old-fashioned way 
of doing this was described in Modern Magic^ but 
1 Page 312. 


457 


Later Magic 

the method in question has long since been aban¬ 
doned, mainly by reason that the japanned receptacle 
used for the mixing of the ingredients was like no other 
earthly vessel, and was therefore violently suggestive 
of that “preparation” which every respectable wizard 
so sedulously disclaims. The trick is, however, for 
the sake of its result, one keenly appreciated by the 
juveniles, and it is still now and then exhibited, though 
in more artistic fashion. 

In one of the amended versions of the trick, an 
ordinary white earthenware jar is substituted for the 
abnormal piece of tinware in which the ingredients 
were formerly mixed. The inner receptacle in this 



case remains as before, save that it is adapted in point 
of shape and size to the jar, and that it has, riveted on 
each side, a short piece of clock-spring to make it bind 
within the latter. 

A more up-to-date piece of apparatus for working 
the trick is a nickel-plated salver, about six inches in 
diameter and one inch deep, as shown in section in Fig. 
194. As will be gathered from the diagram, the appara¬ 
tus in reality consists of two salvers, though when the 
upper, a, is fitted into the lower, b, the two appear as 
one. The former is half an inch shallower internally 
than it is externally, so that there is a space between 







45§ 


Later Magic 


the inner and outer walls, to which space a circular 
opening, c, gives access. 

To show the trick, a cake of suitable size and shape, 
and slightly warmed, is laid in a, and the two are 
simultaneously loaded into a borrowed hat. They 
should be so introduced that the opening, c , of the 
salver is brought uppermost. The outer salver, b, 
is exhibited openly on the performer’s table. Into 
this an egg is broken. The other needful ingredients 
(in very small quantity) are added, and the resulting 
mixture is poured into the hat (actually into c). Just 
as the last drops trickle down, b is lowered, upside 
down, on to a, and the two brought up as one, and put 
aside; after which the cake is in due course produced 
and consumed. 

Where the performer has command of a stage of his 
own, an episode of a very comical character may 
easily be introduced. Having duly “loaded” the hat, 
the performer places it on a cane-bottomed chair, 
where it rests while he pours the cake mixture into it. 
No sooner, however, has he done so, than, to the 
amusement of all present (except the owner of the 
hat), a stream of liquid paste is seen to trickle down 
from the hat through the seat of the chair, and settle 
on the floor. That there has been an accident is only 
too painfully obvious. The performer simulates the 
natural amount of distress, keeping up the agony as 
long as his dramatic talent will admit, but of course 
all comes right in the end. 

This startling effect is produced by the aid of the 
little appliance depicted in Fig. 195. It is of blackened 
tin, and is in the shape of a shallow funnel, closed 


459 


Later Magic 

at top, and about three inches in outside diameter. 
A couple of hooks, a a, serve to attach it to the 
seat of the chair. The mouth, which is fairly wide, 
is closed by a cork, 6, to which is attached one end of 
a thread, c , the opposite end of which is led away, 
through a screw-eye fixed in the floor, to the hand of 
an assistant behind the scenes. The funnel is filled 
with a mixture of flour and water, of the consistency 



Fig. 195. 


of cream. A pull upon the thread draws out the cork, 
with the result already described. 

If the performer works single-handed, it is a very 
simple matter so to arrange the thread that he himself 
can draw the cork at the proper moment. 

THE WANDERING ORANGES. 

The effect of this trick, which is the invention of a 
German wizard named Curiel, is as follows: A couple 
of hats are borrowed, and each placed on a separate 
table, some little distance apart. Both have been 






460 


Later Magic 


shown empty, but at the conjurer’s command hat No. 
1 becomes filled with oranges. These he transfers, 
one by one, to hat No. 2, and again shows No. 1 empty. 
When, however, he takes up No. 2, that too is found 
to be empty, the oranges having, somehow or other, 
found their way back to No. 1. 

The marvel must be discounted a little by the ad¬ 
mission that the oranges are not of the eatable kind, 
but are in fact (with one exception, to be hereafter 
referred to) the familiar spring-balls, covered in imita¬ 
tion of the golden fruit. Of these the performer has a 
dozen, duly compressed and tied, vested on each side. 
A genuine orange reposes in the right pochette. Of 
the two hats used, that which we have called No. 1 is 
the ordinary “chimney-pot,” handed up by a bond- 
fide lender. No. 2 is a faked article, so arranged that 
one half of the crown can be folded inwards on the 
other half, leaving a semicircular opening. This is 
entrusted to a confederate among the audience, who 
hands it up at the proper moment. 1 

One of the two tables,—the one standing, we will 
say, on the right hand as viewed by the audience,— 
has no preparation. The other is a “ trap’’-table, 
with a “pull” arrangement whereby an assistant be¬ 
hind the scenes (or the performer himself if he works 
single-handed) can open the trap at pleasure. 

Having borrowed the two hats, the performer in 
returning to the stage loads into No. 1 (the unpre¬ 
pared hat) one of his packets of sham oranges. This is 
placed on the right-hand table. He then proceeds to 
place hat No. 2 on the left-hand table, in so doing 

1 This is a weak point in an otherwise clever trick. A conjurer 
should be independent of all outside assistance. 


461 


Later Magic 

turning back the flap portion of the crown, and so 
placing it that the opening shall be directly over the 
trap. 

After a little appropriate patter, he returns to hat 
No. 1. To his pretended surprise, he finds that there 
is something in it. Loosening the string, he produces 
an orange, and another, and another. Picking up hat 
No. 1 he walks across to hat No. 2, and places the 
oranges one by one therein, the natural result being 
that they pass down the trap and into the body of the 
table. When the supply is exhausted, he shows hat 
No. 1 empty, and while doing so palms the genuine 
orange from the pochette Transferring the hat from 
the one hand to the other, he ^introduces the orange, 
and a moment later, turning the hat accordingly, 
allows it to fall out (which it does with an audible thud) 
and to roll along the floor towards the spectators. 
“Dear me!” he says, gazing into the empty crown, 
“now I wonder where that could have come from! It 
must have been between the hat and the lining. Or 
perhaps it is a later sort of orange, and took a little 
longer to materialize. Anyhow, we will put it with 
the rest.” So saying, he drops it into hat No. 2, and 
replaces No. 1 in its original position, having, however, 
in the meantime loaded into it the second packet of 
sham oranges, for doing which the little interlude with 
the real one has given him ample opportunity, be¬ 
sides proving, by conjurer’s logic, that all are the 
genuine article. 

The next stage of the trick is the return of the 
oranges to hat No. 1. The performer must, of course, 
suggest by his patter some reason to account for this, 
and here he has a good opportunity to exhibit any 


462 


Later Magic 


dramatic talent he may possess. His harangue may 
run somewhat as follows: 

“This curious effect, ladies and gentlemen, is pro¬ 
duced by magnetic attraction. No, sir” (to an im¬ 
aginary interrupter), “I did not say hattraction. I 
notice, by the way, that I always succeed best with 
the hat of a rather hot-headed gentleman. You see, 
oranges come from warm climates, and they won’t 
germinate in a cold one. I tried this experiment once 
with a gentleman’s hat, and instead of oranges I got 
oysters. I found out afterwards that the owner of 
the hat had water on the brain. Of course that ac¬ 
counted for it. To-night, happily, all has gone well. 
The orange crop is a success. Did any one notice, by 
the way, how many we got? I quite forgot to count 
them, but we will do so now.” 

He moves towards hat No. 2, and dips his hand in, 
as if to take out an orange, and in so doing closes the 
flap. Finding nothing, he puts on a look of surprise, 
and gazes into the hat. 

“Hallo!” he says, holding it up and showing it 
empty, “how is this? Surely I put the oranges into 
this hat. Now where are they gone?” As if struck 
by a sudden thought, he crosses over, and looks into 
hat No. 1. “I see how it is, the owner of this hat 
is the hotter-headed gentleman of the two; and so 
the oranges have all come back again.” Loosening 
the string which confines the oranges, he shows the 
hat again full. “Well, all’s well that ends well. 
Here, John” (to assistant), “we won’t take any chan¬ 
ces this time. Just take these oranges, and cut them 
up on a plate, for the refreshment of these ladies and 
gentlemen.” 


Later Magic 


463 


The hat is after a brief interval brought back empty, 
and with it a plateful of genuine oranges, cut in quar¬ 
ters, which are offered to the company, again proving, 
after the usual fashion, that there is “no deception.” 

A GLASS OF WINE PASSED VISIBLY THROUGH THE CROWN 
OF A HAT. 

This very ingenious trick is the invention of Herr 
Conradi, of Dresden. It would be difficult to surpass 
it in point of magical effect. Its only drawback is that 



a special table, of rather intricate construction (see 
sectional view, Fig. 196), is needed for its exhibition. 

The table top, aa, is of glass, about twelve inches in 
diameter, and a third of an inch thick. It is supported 
by an elegant brass column, bb , terminating at bottom 
in a tripod base, cc. The lower part, dd, of the column, 












464 


Later Magic 


to a height of about six inches, is double the dia 
of the upper portion, and is, in fact, a hollow cyV 
filled with water. The upper part of the colt 
likewise hollow, and through it passes a slende 
rod, ee , to the upper part of which is fixed .jiass 
disc, corresponding in diameter with that of the mouth 
of the glass used in the trick. The lower end of this 
rod terminates in a wooden plug, loosely fitting the 
cylinder, dd. There is a slot, exactly corresponding in 
length with the height of the glass, in one side of the 
tube, bb. A pin, screwed at right angles into the 
upright rod, projects through this to the extent of an 
inch or so, terminating in a little brass knob, /. Be¬ 
tween the knob and the side of the tube is a spring, g, 
which, when the screw is turned, increases or dimin¬ 
ishes the pressure of the rod against the sides of the 
tube, and consequently the facility with which it can 
be moved therein. 

When the table is first seen on the stage, the rod e e 
is pressed down to the utmost, the disc resting flat 
on the table top, and so being invisible. The friction 
of the rod is so regulated that by placing a finger under 
the set screw, /, the disc can be readily moved up¬ 
wards, but will not sink down again by its own weight, 
though a very slight additional pressure will make it 
do so. 

In conjunction with the table is used a clear glass 
tumbler with its upper edges ground flat, and having 
a flat lid or cover, likewise of clear glass. This is 
shouldered, so that when dropped upon the top of 
the glass it cannot shift laterally (see Fig. 197). As 
the reader is, no doubt, aware, a glass filled with water, 
and so covered, may be turned upside down, or moved 



Later Magic 


4^5 


in any direction, without fear of spilling the liquid, the 
pressure of the air keeping the cover in position, how¬ 
ever loosely it may fit. The cover in question is in 
the first instance laid on the top of a wide-mouthed 
decanter, containing wine or other red liquid. 

Thus provided, the performer is ready to show the 
trick, in describing which I cannot do better than 
follow, at a respectful distance, the lines of the patter 
used by the inventor himself. I say “ at a distance,” 
because, like Mr. Silas Wegg, Herr Conradi now and 
then “drops into poetry,” a region into which I will 
not venture to follow him. 



Fig. 197. 


“ Ladies and gentlemen, it is the custom nowadays 
for a conjurer to offer everything for examination. I 
will ask you, therefore, to examine this glass. I wish 
you to be quite satisfied, first, that it doesn’t fold up 
in any way; and, secondly, that this particular glass, 
and no other, is used throughout the trick. I shall 
therefore be much obliged if you will mark it in some 
way, the only restriction being that you return it to 
me whole. Here are some sealing-wax and a lighted 
taper. I dare say some one will oblige me with the 
loan of a signet ring, when it can be marked to your 

complete satisfaction.” 

30 






466 Later Magic 

The glass being duly marked and returned, he con¬ 
tinues as follows: 

“In order still further to exclude any possible 
chance of my exchanging or spiriting it away, I will 
fill it to the brim with this fine old Burgundy.” 

In picking up the decanter he rests the right hand for 
a moment over its mouth, and palms off the glass 
cover, which was deposited thereon. After he has 
filled the glass, he puts down the decanter, and pres¬ 
ently transfers the glass from the left hand to the 
right. In so doing he brings the right hand over the 
top, and lowers the cover into position upon it; being 
transparent, it remains invisible. 

“I have filled the glass almost too full. Now, with 
due precaution not to spill any of the precious fluid, I 
will place it on this little table, while I endeavour to 
obtain the loan of a tall hat and a lady’s pocket-hand¬ 
kerchief. I thank you. With the handkerchief I cover 
the glass, so—What! you think I have taken away 
the glass! No, here it is.” (He shows it, and again 
covers it.) “I fear, by the way, that some of you 
ladies and gentlemen at the side cannot see very well. 
I will move the table a little farther forward. Now 
you will have a better view.” 

This is a critical stage of the trick. On depositing 
the glass of wine on the table, he places it a little in 
front of the glass disc, which therefore has room to rise 
behind it. In lifting the table, he grasps the central 
column, holding it very lightly, immediately beneath 
the check-screw, f. The first effect of lifting the 
hand, therefore, is to force f upwards, thereby ele¬ 
vating the disc to a level with the top of the glass (at 
which point it for the time being remains). So soon, 


Later Magic 


467 


however, as f reaches its uttermost point, the upward 
pressure of the hand operates upon the table itself, 
which the performer proceeds to move forward a foot 
or two. 

“Ah!” he says, after having done this, “I can see 
that some of you again imagine that I have taken 
away the glass. Let me show you once more that you 
are mistaken.” 

So saying, with the left hand he raises the handker¬ 
chief at the back, the front edge still resting on the 
table, and with the right hand holds up and exhibits 
the glass. He then replaces it, apparently in the same 
position, but in reality now places it behind the glass 
disc, and drops the handkerchief loosely over the 
latter. The spectators naturally believe that the 
handkerchief still covers the glass, though the glass is 
in reality behind and outside it. Next, taking the hat, 
and carelessly showing it, he continues: 

“Now I am going to make this glass disappear. 
There are two ways of doing it, and I will adopt which¬ 
ever you like. One is to do it invisibly, in which case 
I shall cover it with the hat, so .” Here, suiting the 
action to the word, he places the hat, mouth down¬ 
wards, over the handkerchief, but immediately lifts it, 
and loads into it the covered glass from behind the 
handkerchief. 

“Or I can do it visibly, in which case I turn the 
hat so, and leave the glass in full view. Which shall 
it be?” 

At this point he places the hat, crown downwards, 
on the top of the supposed glass, but does not let go 
of it until the decision of the audience is announced. 
There is, however, only one possible answer in such 


468 


Later Magic 


a case as above suggested. Spectators always want 
to see all they can, and will never consent to have 
a given effect produced under cover if they have the 
alternative of seeing it done, as they imagine, openly. 
The answer is always, therefore, “Visibly.” On re¬ 
ceiving the popular mandate the performer removes 
his hand from the hat. “Now, ladies and gentlemen, 
watch carefully, and you will see the glass of wine 
gradually pass through the crown of the hat. How it 
is done, I don’t profess to tell you, but you will see 
that that is what happens. See, the glass is begin¬ 
ning to melt away already.” 

The trick is now done. The extra weight on the 
glass disc forces it slowly downward, the water in the 
cylinder, d d , acting as a check, and preventing its sink¬ 
ing too rapidly. When the glass disc has quite reached 
the level of the table, the performer picks up the hat, 
and dipping his hand into it, removes and palms the 
glass top, and produces the glass of wine, which is 
identified by the seal upon it. 

The illusion is one demanding a considerable amount 
of address, but is not really so difficult as many which 
do not possess a tenth part of its effectiveness. 

THE VANISHED CANNON-BALL. 

It is easy enough, as every conjurer knows, to pro¬ 
duce a cannon-ball from a hat, but if the wizard were 
asked to make it disappear again he would usually be 
compelled to admit that there are things which even a 
magician cannot do. A little device of Herr Willmann’s, 
however, makes such an achievement not only 
possible, but easy. 


Later Magic 


469 


The ball used is of solid wood, with a hole bored in 
it. It is introduced into the hat from the servante 
after the usual fashion, and allowed to drop on the 
floor, to prove by the resulting “thud” that it is the 
real thing, and not some hollow imitation. The only 
point in which it differs from the old-fashioned ball 
used for the same purpose is that the bore is not 
cylindrical, but slightly tapering. In conjunction 
with it is used a wooden plug, exactly corresponding to 
the hole, and, if pressed into it, fitting tightly. 1 This 
plug is of such a size that it only penetrates into the 
ball to the extent of two thirds of its length, and the 
remaining portion is fashioned into a round knob, for 
use in pulling it out again when the trick is over. 
Through the length of the plug a small hole is bored, 
and through this is threaded a piece of thin but strong 
black cord, about two feet long, secured by a knot at 
the smaller end of the plug. 

The free end of the cord is led through a hole, made 
for the purpose, on the inside of the left vest pocket of 
the performer, and secured to the nearest of his brace 
buttons. The plug is deposited in the same pocket, 
in such manner as to be easily withdrawn, and a small 
portion of the cord is allowed to form a loop outside. 

Thus provided, the performer produces the ball from 
a hat, as above mentioned. This done, he looks about 
for something to wrap it up in. A good-sized cloth, say 
a table-cover or small shawl, happens (!) to be thrown 
over a chair or the like, ready to his hand. He wraps the 
ball in this; then, holding it with both hands, makes 

1 It will be found a decided advantage to have either the hole 
lined or the plug covered with cork, in which case a very moderate 
degree of pressure will make the two fit tightly together. 


470 


Later Magic 


the motion of throwing it into the air, and instantly 
shakes out the cloth. The ball has vanished. He 
shows the cloth on both sides, draws it through his 
hands, and finally throwing it over his shoulder, makes 
his bow, and retires. 

As the reader will doubtless have guessed, the per¬ 
former, while turning his back to get the cloth, gets 
the plug from his pocket and drives it home in the 
ball. When wrapping the ball in the cloth, he takes 
care that the side towards his own body shall be un¬ 
covered. The upward throwing movement is not a 
mere make-believe, but a reality, for the ball passes 
over his left shoulder, where it hangs suspended by the 
cord. The subsequent throwing of the cloth over the 
same shoulder conceals it, and enables him to make a 
dignified and graceful exit. 


CHAPTER XII. 


MISCELLANEOUS TRICKS. 

T HE present section will be devoted to a few tricks 
of some special interest, which, according to the 
classification I have adopted, could not properly be in¬ 
cluded in either of the preceding chapters. 

First and foremost we will take the pretty little 
drawing-room trick, entitled—- 

THE AFGHAN BANDS. 

The requirements for this trick consist of a pair of 
sharp-pointed scissors and three or four strips of white 
paper, each five or six feet long and one inch (or 
thereabouts) in width, pasted together at the ends 
so as to form endless bands. The familiar telegraph 
paper answers the purpose very well. The performer 
comes forward with these bands strung on his left arm. 
Taking them one by one in the right hand and showing 
that they are all separate, he lays them on a table or 
chair, or, if he prefers it, hangs them round his neck. 
Then, taking one of them, he makes a hole with the 
scissors in the centre of its width, and, handing the 
paper and scissors to some spectator, asks him to con¬ 
tinue from the hole thus made, and divide the strip 
throughout its whole length. This done, the paper 
471 


472 


Later Magic 


naturally takes the form of two endless bands, the 
same length as the original, but only half the width, 
as aa in Fig. 198. 

The performer takes one in each hand and looks at 
them sadly. “This is all wrong. I didn’t want the 
two rings separated. I wanted them linked one within 
the other. You couldn’t do that? Ah! you are evi¬ 
dently not a conjurer. If you had been a conjurer 
you would have just whispered softly to yourself 


cu a- ^ 



yj 

Fig. 


‘ Aldiboronticophosphikoformio! ’ and the result would 
have been quite different. See! ’ ’ With these words he 
takes the second band, perforates it with the scissors, 
and divides it lengthways like the other. Two bands 
are again formed, but the one is linked within the 
other, as b in the figure. 

“You look incredulous, ladies and gentlemen. You 
don’t believe my magic formula had anything to do 
























Later Magic 473 

with it? Really, you are very sceptical. I cut the 
paper fairly, did I not? However, I can easily con¬ 
vince you. We will try the experiment over again, 
and this time I will use a still stronger form of incanta¬ 
tion, when we shall naturally get ap even more re¬ 
markable result. Cryptoconchoidosyphonostomata! 
You had better make a note of that word. You’ll 
find it very useful in cases of this kind. Now I will 
divide this third band in the same way as the others. 
But the effect will now be quite different. This time, 
you see, we have one long continuous band.” (See c 
in Fig. 198). 

The secret lies in the making up of the paper bands. 
The first is a perfectly ordinary band, one end being 
brought fairly round and pasted on to the other. In 
the second case the strip of paper is twisted, half round, 
before the ends are pasted together. In the third case 
it is twisted fully round before the ends are joined. If 
yet another twist be given to it before joining, the 
band when cut will appear as d in the figure. 

The chief point the novice has to bear in mind in 
preparing the bands is to have them long enough. 
The longer they are, the less likely is the twisting 
of the band in the last three cases to attract at¬ 
tention. 


THE CHINESE PAPER-TEARING TRICK. 

This trick was introduced to the public by Ching 
Ling Foo, a Mongolian conjurer, who a year or two 
back made a great hit in America; so much so, indeed, 
as to induce more than one of his Western confreres 
to drop their own nationality, and, with pigtail and 


474 


Later Magic 


flowery robe complete, to present their illusions in the 
character of the “Heathen Chinee.” 1 

The trick in question is of the simplest kind, both 
in effect and in execution, consisting merely in tearing 
a strip of paper into small pieces, rolling them between 
the fingers, and reproducing in a single strip as at first. 
But its very simplicity constitutes its charm, and it 
has achieved extraordinary popularity, both with the 
public and among performers. 

By way of introduction it may not be out of place 
to describe a little drawing-room trick (I believe, of 
Japanese origin), of which the paper-tearing appears to 
be merely a later development. In general effect it is 
precisely the same, save that a needleful of red cotton 
takes the place of the strip of paper. The performer 
takes this by one end, between the forefinger and the 
thumb of the right hand. With the other hand he 
picks up the opposite end, and brings the two together 
so as to form a hanging loop. Some one is invited to 
snip this loop at its lowest point with a pair of scissors. 
The two hanging ends are picked up as before, now 
forming a double loop, and the thread is* again cut, the 
cutting being repeated as long as the length of the 
fragments permits of their being doubled at all. 

When this point is reached, the performer rolls the 


1 Foremost among these is the genial American wizard, W. E. 
Robinson (“Chung Ling Soo”), whose truly Chinese smile, “ child¬ 
like and bland,” and the perfection of whose make-up have de¬ 
ceived thousands into the belief that he is a genuine Mongolian. 

The majority of the so-called Chinese tricks are very poor, judged 
by a Western standard, but in “Chung Ling Soo’s” hands they 
never fail to please even the most critical audience; a fresh illustra¬ 
tion of the never-to-be-forgotten truth, that a conjuring trick is 
just what the performer makes it. 


Later Magic 


475 


snippets, now only about an inch long, between the 
forefinger and the thumb. Presently, catching hold 
of a loose end, he begins to draw it out, and lo! the 
thread appears whole as at first. 

The secret lies in the fact that the performer has a 
second piece of thread, of similar length, rolled into a 
ball, concealed from the outset between the finger and 
thumb, or between the top joints of the first and 
second fingers of the right hand. The act of holding 
the thread to be cut between the same fingers and 
thumb completely masks the presence of this second 
piece. The cut pieces, when rolled together, form a 
similar ball, and at the right moment the one ball is 
rolled over the other, bringing the whole thread into 
view, and concealing the fragments. 

The only drawback to the trick in this form is that, 
from the thinness of the thread, it is only visible at 
close quarters. Hence, doubtless, the substitution of 
paper. This should be thin tissue paper, two strips 
being used, twenty to thirty inches in length and not 
quite half an inch wide. The general routine of the 
trick is the same as where the thread is used, but there 
are two or three differences. The paper is tom in¬ 
stead of cut, and this is done by the performer himself. 
It is not looped up like the thread, but torn across the 
middle. The two fragments are then laid one on the 
other, and these torn simultaneously across the middle, 
and so on till the pieces become too short to tear. 

The method of reproduction, or rather, of retaining 
the unbroken strip till it is needed for reproduction, 
varies. One method (said to be that used by Ching 
Ling Foo himself) is to conceal it in a little fake (as 
a in Fig. 199), consisting of an oval-shaped piece of tin, 


476 


Later Magic 


bent nearly double, and coloured to match the hand. 
This, with the piece of paper rolled up tightly within 
it, is inserted between the roots of the second and third 
fingers, as shown in the diagram. With a little cau¬ 
tion, and at stage distance, this little addition to the 
hand is not perceptible to the spectators. Others, 
again, adapt a similar appliance to the fork of the 
thumb. 



Neither of these arrangements is, however, entirely 
satisfactory. If mechanical aid be employed at all, 
the most perfect form it can take is that of a false 
thumb of thin copper, just large enough to cover the 
top joint of the natural member, and modelled and 
coloured in exact imitation of it. The strip of paper 
for the restoration is packed inside this, against the 
ball of the thumb. 

The performer takes the strip of paper intended to 
be tom between the thumb and first finger of the right 
hand, showing the left hand empty. He then transfers 




Later Magic 


477 


the strip to the thumb and forefinger of the left hand, 
and shows the right hand empty. If the hand be so 
held that the tip of the false thumb is directed towards 
the spectators, the keenest eye cannot detect its 
presence. 

The paper is then torn into pieces as already de¬ 
scribed. These are placed in the left hand, which at 
the same time draws off the false thumb, and thereby 
releases the unbroken strip. The fragments are packed 
into the thumb, and this is replaced in position, after 
which the restored strip is drawn out between the 
thumbs and fingers of the two hands. 

It is a good plan to roll half the strip of paper from 
one end, and the other half from the opposite end. 
This makes a flatter roll for insertion in the thumb; 
and the strip can be unrolled from both ends simul¬ 
taneously. 

It is, however, quite possible to dispense with ex¬ 
traneous aid altogether. It will be found by experi¬ 
ment that a strip of tissue paper, such as is used for 
the trick, can be rolled so as to form a cylinder only a 
quarter of an inch in diameter, and in this condition 
can be perfectly well concealed between the roots of 
the second and third fingers, without being covered in 
any way. If the outer surface is rubbed with a little 
drawing chalk, so as to make it match the colour of the 
flesh, it will be still less likely to attract attention. 

The chief difficulty is to roll the paper tightly. A 
handy little tool for this purpose may be fashioned as 
follows: Take a large-sized darning-needle, and with 
a pair of cutting-pliers snip off the portion above the 
eye. This will transform the upper end of the needle 


478 


Later Magic 


into a miniature fork. The point should be thrust 
into a two-inch length cut from a wooden skewer or 
penholder, to form a handle, and the appliance is 
complete. To use it, pass the extreme end of the 
paper strip through the little fork, so that about a 
third of an inch shall project on the other side. By 
turning the needle, the strip may now be wound up 
as tightly as you please, being secured, when wound 
up, by tying a bit of cotton of the same colour around 
it, after which the little fork may be withdrawn. 

In unwinding the strip, the little roll should be kept 
well under cover of the fingers, for, if the roll be once 
caught sight of, a substitution will naturally be sus¬ 
pected. 

In order to leave the hands of the performer free 
until the little roll is actually needed, it may be temp¬ 
orarily impaled on the point of a black pin, thrust 
downwards through the cloth of the performer’s vest 
from the outside, near the bottom button. 

One of the neatest versions of the paper-tearing 
trick in this form is that arranged by Mr. Ellis Stanyon. 
It has been fully explained in the pages of Magic , 1 but 
for the benefit of those of my readers who may not 
chance to see that useful periodical, I cannot do better 
than describe it at length. 

The performer exhibits a piece of paper measuring 
five inches by six. Mr. Stanyon himself prefers to use 
the front of a confectioner’s biscuit-bag, as having an 
exceptionally innocent and casual appearance, while 
the name and address of the baker, which are usually 
found printed on such bags, serve as indirect evidence 
of identity. He begins by tearing off one corner, and 
1 Vol. iii., p. 47. 


479 


Later Magic 

handing it to one of the spectators for safe custody. 
Then tearing up the remaining portion of the paper, he 
rolls the fragments into a ball, which is held between 
the thumb and two fingers of the left hand; both hands 
being shown to be absolutely empty, save for the little 
ball of paper. After making a few passes with the 
disengaged hand over the paper ball, he opens it 
out, when it is found complete, all save the missing 
corner. 

He asks for this latter, and moves to receive it, but 
at that moment overhears (or pretends to overhear, 
which comes to the same thing for his purpose) a re¬ 
mark that the paper is “not the same.” With pre¬ 
tended indignation, he says, “No, sir, keep the corner 
for the present. I will tear the paper up again, and 
then you shall yourself decide whether it is the genuine 
piece of paper or not.” 

So saying, he tears the paper a second time, and, hav¬ 
ing done so, rubs the pieces into his left elbow, whence 
they pass up into the left hand. Thence they are 
magically passed into the right-hand waistcoat pocket. 
The ball is taken out and unrolled. The paper is again 
found restored, with the exception of the missing 
corner; and on comparison, this is found to fit so 
exactly that there cannot be any doubt as to the 
identity of the larger piece. 

To work the trick, the fronts of three bags are necess¬ 
ary. From one of these a corner is tom, the remain¬ 
ing portion being rolled up and placed in the vest 
pocket. The corner is laid upon the table, covered by 
the second bag-front. The third is prepared by tearing 
a corner from it, m shape and size as nearly as possible 
like that torn from the first bag. This corner is not 


480 


Later Magic 


wanted, and is best destroyed. The paper whence it 
was taken is rolled up and placed in the bend of the 
right elbow, outside the coat. 

To show the trick, the performer, with the left hand, 
picks up from the table the paper which lies there, at 
the same time secretly picking up the corner which was 
concealed behind it. He shows the paper, drawing 
attention, in some casual way, to the printed matter 
upon it, and, with the right hand, tears off the upper 
right-hand corner, again so as to correspond as nearly 
as possible with the two corners previously torn. 

The next point is to change the two corners. The 
paper in the left hand is held between the first and 
second fingers, and the important corner, which we 
will call No, 1, between the thumb and first finger, the 
paper hanging down in front of it. The corner just 
tom off (No. 2) is held between the thumb and 
forefinger of the right hand. The paper is now trans¬ 
ferred from the fingers of the left hand to the corre¬ 
sponding fingers of the right, the corners remaining 
as they were. To the eye of the spectator, the paper 
and the torn corner have changed places, but as a 
matter of fact the paper only has been transferred, 
comer No. 1 still remaining in the left hand (but now 
exposed), while comer No. 2 is concealed behind the 
paper in the right. 

Corner No. 1 having been placed in the keeping of 
one of the spectators as already described, the per¬ 
former proceeds to tear up the visible paper, mixing 
corner No. 2 with the fragments, from which it becomes 
thenceforth undistinguishable. These are row ml 1 - 1 
into a ball, which is apparently transferrer j 

right hand to the left, though it really rema 1 


48 


Later Magic 

in the right . 1 Pulling back the left sleeve, the per¬ 
former leaves this ball in the bend of the elbow; and 
in the act, which immediately follows, of pulling back 
the right sleeve, gets from thence the other ball, pre¬ 
viously placed there. This is at once shown, or allowed 
in a casual sort of way to be seen, in the left hand, 
the spectators naturally taking it to be the ball of tom 
paper just transferred thereto (as they suppose) from 
the right hand. A few magical passes are made over 
the ball, which is then opened out and found to be com¬ 
plete, save for the one comer. At this point the per¬ 
former makes believe to hear the remark as to the 
paper not being the same, and with virtuous indigna¬ 
tion offers to prove his good faith by tearing the paper 
over again. Before doing so, however, he once more 
draws back the sleeves a little, and under cover of this 
movement gets back the ball of tom pieces into the 
right hand, where it rests under cover of the supposed 
“restored” paper. 

This is now tom to pieces, and these are rolled into 
a ball with those already in the hand , which conse¬ 
quently give no further trouble. The ball is passed 
from hand to hand once or twice, being apparently 
taken at last in the right hand (by means of the tour¬ 
niquet), but really remaining in the left. With the 
right hand the performer professedly rubs the ball of 
paper into the left elbow, at the same time explaining 
that he proposes to pass the little ball up the arm into 
the left hand, whence it will travel invisibly down the 
sleeve, across his back, and into his waistcoat pocket. 

1 The familiar “cup and ball” pass—rolling the little ball with 
the thumb between the roots of the second and third fingers—would 
naturally here be used. 

31 


482 


Later Magic 


The bending of the left arm to admit of the rubbing 
of the elbow naturally brings the left hand close to 
the neck, and the performer avails himself of the op¬ 
portunity to drop the torn pieces inside his shirt- 
collar. The trick is now done. The “restored” paper 
is produced from the vest pocket, and is proved (?) by 
comparison with the torn corner to be the same which 
has figured throughout. 

The manner of the final reproduction might be 
varied by producing the torn paper in some other 
quarter. For instance, a pretty effect might be got 
by using flash paper, and producing the finally re¬ 
stored paper from a candle. In its earlier stages it 
seems to me that the feat could hardly be improved 
upon, the successive processes being arranged with 
extreme ingenuity so as to permit of showing the 
hands freely at every stage, a most important element 
in the magic of the trick. 

It may be worth while here to mention a plan I have 
found useful, in tricks of this kind, to make the same 
torn corner fit two pieces of paper. Get two pieces of 
stiff cardboard, the size of a playing card, and with a 
sharp penknife cut from both simultaneously a corner, 
pretty nearly square. (It is better to slightly round 
the inner angle.) Lay two pieces of thin paper be¬ 
tween these cards, taking care that the edges of the 
cut-away portions register exactly alike, and while 
pinching the cards tightly together, and using these 
edges as a guide, tear the two pieces of paper simul¬ 
taneously against the sides of the angle, close up to the 
cards. If this is carefully done, the torn corners will 
be so nearly alike that they will fit either the one piece 


Later Magic 


483 


of paper or the other. Of course one corner only is 
needed for use, but the paper may thus be “identi¬ 
fied” at both stages of the restoration, materially en¬ 
hancing the effect of the trick. 

THE PAPER-TEARING TRICK, WITH COLOUR CHANGE. 

This is another variation of the same trick, arranged 
and worked with much success by Mr. Maurice Garland. 
Like Mr. Stanyon’s, it has the great recommendation 
that no “fake” is used. 

The starting-point is the exhibition of a piece of 
white tissue paper, about nine inches square. This 
the performer tears across and across, till it can be 
torn no longer. He rolls the fragments into a ball, 
and on again opening it out shows that the paper is 
restored. Again making this into a ball, and rolling it 
between his hands, the white paper is seen to have 
become blue. This is opened out and rolled up again. 
A moment later, and it is red. Another roll between 
the hands, and it is white again. The white paper is 
once more made into a ball, and thrown into the air, 
whence it descends in a shower of minute fragments, 
no larger than confetti. 

The requirements for the feat are as follows: 

1. Three pieces of white tissue paper, each about 
nine inches square. Of these, one is reserved for open 
use. The other two, each rolled into a ball, are 
vested. 

2. Two other pieces of tissue paper, to correspond; 
one red, vested; one blue, in a pochette. 

3. A similar piece of white paper, cut into minute 
fragments, then pressed together into a ball, which is 


484 


Later Magic 


kept in shape by cross strips of postage-stamp margin 
paper. This is also vested, or otherwise so placed as 
to be instantly get-atable. 

After tearing up the piece of paper first shown, the 
performer, in rolling the fragments into a ball, drops 
one on the floor. Under cover of picking this up, he 
gets one of the complete white papers from the vest 
into his hand. He opens this out, and, while exhibiting 
it, drops the torn pieces into the profonde, and gets the 
“blue” ball into his hand. Rolling the white paper 
into a ball, he works the other ball in front of it, and 
shows that it has changed colour. After opening this 
out, in rolling it up again he secretly wraps up the 
white ball within it, and so gets rid of this. 

After the same fashion he changes the blue ball for 
the red one, and finally the red back to white. Under 
cover of throwing the last ball up in the air he gets 
into his hand the ball of minute fragments, changes 
the one thrown for the other, and throws this latter up 
in the air, catching it as it descends. By rubbing it 
between the fingers he breaks the surrounding strips, 
and the fragments fall upon the floor, the paper just 
shown having apparently become disintegrated in its 
upward flight. 

THE MELTING COIN (IMPROVED). 

Readers of Robert-Houdin’s Secrets de la Presti¬ 
digitation et de la Magie, or of the English version of 
the same book, 1 may recall a trick to which he gave 
the title of “La Price Fusible ,” or “Melting Coin.” 

1 The Secrets of Conjuring and Magic (Geo. Routledge & Sons, 
Lim., London; E. P. Dutton & Co., New York). 


Later Magic 


485 


I propose here to describe the same trick, but with one 
or two little additions of my own which I have found 
to enhance its interest. 

The only requirements are a candlestick and lighted 
candle, and a piece of tin-foil, rolled into a fairly 
solid ball, about five eighths of an inch in diameter. 
This is suspended just under the vest, a little to the 
left of the buttons, by means of a black pin thrust 
downward through the cloth from the outside, and 
then into the foil. Thus suspended, the ball hangs 
quite securely, though a mere touch suffices to draw it 
off the pin, and into the hand. 

The patter which I myself was accustomed to use 
for this trick ran somewhat as follows: 

“Ladies and gentlemen, the little experiment I am 
about to show you is one for which we are indebted to 
the ancient alchemists. People look down upon the 
alchemists nowadays, because they didn’t know any¬ 
thing about bicycles, or the income tax, or the New 
Woman, or our other modern improvements. They 
had the pull of us, however, in the knowledge of many 
useful little scientific dodges, particularly in dealing 
with metals. It is one of these processes which I 
propose to show you. 

“I shall begin by borrowing half a crown. I don’t 
know whether the ancient alchemists began like this, 
but I dare say they did, for philosophers have been an 
impecunious lot in all ages. Mark the coin, please, 
so that you may know it again. You have marked it? 
Next, please, mark—what I do. 

“Silver, as you are no doubt aware, is one of the 
hardest of the metals, and in a general way requires a 
very high temperature to melt it, but by the aid of a 


486 


Later Magic 


few mesmeric passes, properly applied, I can so soften 
it that it will melt even in the flame of this candle. 
Without the aid of magic, you might hold half- 
crowns over candles till doomsday without any result 
(except burning your fingers), but the alchemist’s little 
dodge makes all the difference. Observe, I merely 
take the coin, and submit it to a little mesmeric fric¬ 
tion. As Shakespeare says (referring, no doubt, to 
this experiment), “There’s the rub.” It is a very 
little one, as you observe, and yet the effect of even 
such a little rub as that is that the half-crown at once 
begins to get softer. See, I can bend it. Another 



Fig. 200. 


little rub, and now, you see, it bends nearly in half. 
Yet another little rub, and it is softer still, and when I 
hold it over the candle it melts away, right into the 
flame, and disappears.” 

At this stage a little explanation may be desirable. 
The performer first shows the coin in the right hand. 
He then transfers it to the left hand, letting it lie flat 
on the middle joints of the second and third fingers, 
and rubs it with the fingers of the right. He then 
takes it back into the right hand, professedly to try 
whether it is getting soft. After the second or third 
rubbing (warming the coin over the candle flame after 
each) he takes the coin between the two hands as 
shown in Fig. 200, and by bending the knuckles over 




Later Magic 


487 


towards each other, and back again, appears to bend 
the coin, after the fashion in which a borrowed watch 
is often dealt with by conjurers. 1 The illusion is not 
quite so perfect with a coin, but it is good enough for 
all practical purposes. 

After showing the coin in this apparently softened 
condition, the performer once more makes the move¬ 
ment of transferring the coin from the right hand to 
the left, but this time with a difference. He retains 
it by the “finger palm,” as shown in Fig. 201, between 
the first and second fingers, but, still with the tips of 



these same fingers, rubs the fingers of the left hand as 
if the coin were lying upon them. At this stage of the 
proceedings, he should be so standing as to have the 
candlestick on his left. Making a half-turn, he picks 
this up with the right hand, between the thumb and 
first and second fingers, and, holding the left hand over 
it, makes a rubbing motion with the fingers, as if 
reducing the coin to powder in the flame. He then 
faces round and shows both hands empty , for if he has 
closely followed the above directions the coin in the 
finger palm, lying horizontally, is completely masked 
by the thumb holding the candlestick (see Fig. 202), 

1 Modern Magic , p. 214. 




488 


Later Magic 


and no one, unless looking directly down upon the hand 
could possibly detect its presence. 1 

“ Now I dare say you are thinking to yourselves that 
this is a rather expensive experiment. I know the gen¬ 
tleman who lent me the half-crown is thinking so. 
And so it would be, if the coin was altogether lost. 
Fortunately, however, there is a way of getting all the 
silver back again. Of course, it won’t be quite in its 
original shape, but that’s a secondary consideration. 
Let me call your attention to a little red point at the 



top of the wick. That is the coin, in a state of fusion. 
I take it out, so” [he nips the top of the flame with 
finger and thumb]. “Here it is, you see! What! you 
don’t see? Perhaps not, just at first, but you will as 
the metal begins to cool. It soon solidifies. Here is 
your half-crown, sir, with many thanks.” 

What is actually offered is the tin-foil ball. When 
the performer calls attention to the imaginary red 

1 The candlestick used should be one with a somewhat slender 
stem. It should in any case be grasped by its narrowest portion, 
as the nearer the thumb approaches the fingers, the more perfect 
is the cover for the coin. 






Later Magic 


489 


spot in the candle flame, he moves the candlestick 
with a semicircular sweep towards - the left, as if to 
allow the spectators on that side a better view of it. 
Under cover of this movement, and while all eyes are 
directed to the supposed red spot in the flame, he gets 
the foil ball from under the vest into the left hand, 
and rolls it with the thumb between the second and 
third fingers. He then makes believe, with this same 
hand, to nip the flame as above described. When he 
first professes to show the metal, he keeps the ball 
concealed by the thumb, but by virtue of a rubbing 
movement gradually works it to the tips of the fingers. 
He then, for the first time, puts down the candlestick, 
and offers the ball to the lender of the half-crown, who 
naturally declines to receive his money back in such a 
condition. 

“What do you say, sir? You don’t care for it in 
this shape ? I assure you it is much more valuable in 
this condition. Anybody can own a common half- 
crown, but very few people possess a quaint little 
silver ornament like this. Just the thing to hang on 
your watch-chain! No? You would rather have it 
in its original condition? Well, there’s no accounting 
for tastes. I ’ll do my best. I dare say I can flatten 
it out a bit for you.” Here he brings the hands to¬ 
gether, and in so doing lodges the ball between the 
second and third fingers of the right hand. He then 
begins to flatten out, professedly the ball, but really 
the actual coin, working it round and round between 
the fingers, and gradually allowing the edges to be 
seen. “We ’re getting on, it’s nearly flat now. If I 
can put a bit of a pattern on it, it will be all right.” 

He manipulates it a little longer, and then shows it 


490 


Later Magic 


on the palm of the right hand, or, strictly speaking, 
partly on the palm and partly on the fingers, in such 
manner that it lies just over the foil ball, and so conceals 
it. After showing the coin for a moment in the right 
hand, he transfers it to the left, and returns it to the 
owner, with the remark that he fears the design hasn’t 
come out quite so clearly as could be wished, but no 
doubt he will be able to pass it on a dark evening. 

The points in which the present version differs from 
Robert-Houdin’s are the following: 

1. The introduction of the “bending” sleight, show¬ 
ing that the coin is getting soft. 

2. The use of the finger palm in place of the ordinary 
palm, enabling the performer to show the interior of 
both hands immediately after the disappearance of 
the coin. 

3. The use of the foil ball, serving as an additional 
proof that the coin is actually melted. 

THE GREAT DICTIONARY TRICK. 

The trick which goes by this name was invented by 
my ingenious friend Mr. Maskelyne, and when first 
produced at the Egyptian Hall, now a good many 
years ago, produced an immense sensation. My own 
version differs in sundry particulars from the original, 
having been altered and amended from time to time, 
as improvements, or supposed improvements, sug¬ 
gested themselves. The root-idea of the trick is that 
a word is selected, haphazard, from a dictionary, in a 
manner that precludes all possibility of collusion, and 
that the magician then discovers such word, and re¬ 
veals his knowledge of it in some striking way. 


49 


Later Magic 

I will begin by giving the patter I was accustomed 
to use for the trick (which will, I think, be found to be 
self-explanatory), and follow it with a description of 
the means employed. I may here mention, by the way, 
that the dictionary I used was a penny one, in paper 
covers, and that of this a dozen or more copies were 
distributed at the proper time among the spectators. 

“My next experiment, ladies and gentlemen, will be 
that known as The Great Dictionary Feat, When this 
experiment was first produced, it was conducted rather 
differently from the present plan. A dictionary was 
handed to a lady, who opened it and selected a word 
at her pleasure, and the word so chosen was in due 
course revealed. But it was soon found that that 
wouldn’t do. Everybody imagined that the poor inno¬ 
cent lady was a sister, or a cousin, or an aunt of the 
performer; at any rate a confederate of some sort, and 
the feat lost all its effect. Consequently, the mode of 
proceeding has been changed. The choice of the word 
is now made a matter of pure chance, and, still further 
to prove that there is no possibility of collusion, the 
choice is divided between three different persons, one 
person deciding where the dictionary is to be opened, 
a second whether the right or the left-hand page shall 
be taken, and a third what particular word on that 
page shall be named. 

“ I use, for the sake of portability, a little dictionary 
known as Knight's Penny Dictionary. It contains 
only 10,000 words, so your choice will be limited to 
that number, but I may tell you, truthfully, that the 
difficulty of the feat is not in the least affected by 
the size of the dictionary. I could use the Imperial, 
or the Century, or Cassell’s Encyclopaedic, but they 


49 2 


Later Magic 


wouldn’t be so handy to pass round. There is an¬ 
other advantage about having small dictionaries. In¬ 
stead of one, I am able to have a dozen or more copies, 
which will be distributed among you, so that as many 
as possible may take part in the experiment. 

“First, as to where the dictionary shall be opened. 
Will you, madam, be kind enough to decide that 
point by taking this paper-knife, and thrusting it in 
just where you please between the leaves.” [The 
performer offers a copy of the dictionary, closed. The 
paper-knife is thrust between the leaves, and the whole 
handed to the lady.] “Thank you, madam; now 
please take the book in your own hands. Keep the 
knife just as it is. Don’t open the book just yet, or 
allow any one else to do so. 

“ Next, to decide whether we are to take the right or 
the left-hand page. Put it to the vote, if you like, or 
perhaps it will be simpler merely to toss for it. Who 
will volunteer? Thank you, sir. Now then, shall we 
say, head, right-hand page; and tail, left-hand? Just as 
you like. . . . Good! Which is it? Head? then 

we are to take the right-hand page, which is the one 
bearing the odd number. Is that satisfactory? If not, 
you are still welcome to choose the other. 

“Lastly, as to the particular word on that page. 
Here I have a number of counters” (he offers them on 
a small nickel-plated salver), “numbered regularly 
from one up to one hundred and fifty, that being the 
average number of words on a page. Just see that the 
counters are all different, and meanwhile, perhaps 
some one will lend me a hat. Thank you, sir.” [The 
performer takes the hat in his left hand.] “ Now will 
some one take a handful of these coins, and give them 


Later Magic 


493 


to me? Thank you, I drop them into the hat” (he 
does so), “and give them a good shake up. Now, sir, 
will you put in your hand, please, and take out one 
counter. Close your hand tightly upon it. 

“ Now, ladies and gentlemen, I have to discover the 
word thus elaborately selected. You will readily 
see that it is absolutely impossible that I should know 
it beforehand. In order to discover it in at once the 
simplest and most mysterious manner possible, I shall 
invite the spirits (my own special blend of Scotch and 
Irish) to write it in letters of blood on my bare arm. 
Allow me first to show you that there is neither word 
nor letter on it at present.” [He bares his arm, and 
exhibits it on all sides, then draws the sleeve down 
again.] “I would willingly pass my arm round for 
inspection, but, unfortunately, it is a fixture. 

“ Now, madam, will you open the dictionary you hold, 
and tell us where the paper-knife chanced to be in¬ 
serted. It opens at pages-’ ’ (as the case may be), 

“ and it was settled that we were to take the right-hand 

page, which is page-. . . . Now, sir, please look 

at the counter you selected. What number does it 
bear? . . . Then all who have dictionaries, please 

open them and look out the-th word on the-th 

page. Meanwhile, I just take the dictionary and the 
counter in my hand, and allow the mesmeric influence 
to flow up my arm.” 

“The spirits are quicker than you, ladies and gentle¬ 
men ” (he bares his arm), “for here, in blood-red 
characters, appears a word. Perhaps somebody will 
read it. What should it be, please, to correspond with 
the -th word on the th page of the diction¬ 

ary? . . . Good. The spirits have done their 







494 Later Magic 

work well, for here on my arm, in plain characters, is 
that same word,- 

I know no trick of its kind more effective than the 
foregoing. There does not appear to be even a loop¬ 
hole for deception left open; and yet this surprising 
effect is produced by the simplest of means. 

The properties for the trick consist of a dozen (or 
more if the audience be large) of the small dictionaries, 
unprepared, and one “special” one, prepared as here¬ 
after described; a small, thin paper-knife; a gross of 
counters, numbered consecutively from i upwards, on 
a small plated salver, and eight or nine similar counters 
all bearing the same number, say “24.” These last 
are placed till needed in the left pochette, or in a clip 
under the left side of the vest. 

For the preparation of the special dictionary twenty- 
eight to thirty ordinary dictionaries have to be sacri¬ 
ficed. These are unstitched and two consecutive 
leaves, say pages 37, 38, 39, 40, taken out from the 
middle portion of each. These are then pasted to¬ 
gether in couples; page 3 7 of each pair against page 40 
of the preceding pair. Against the foremost page 37 
is pasted the first leaf, and against the ultimate page 40 
the last leaf of the book, so as to secure a proper 
beginning and ending. The leaves thus pasted to¬ 
gether should be dried in a press, and they must then 
be sewn together, in one of the original covers, by a 
bookbinder. 1 The dictionary thus made up will be 

1 The mutilated copies should be carefully preserved, and utilized 
to make up other “faked” copies, as it would obviously be very un¬ 
wise for the performer to use a dictionary opening at the same 
pages evening after evening. 



Later Magic 


495 


externally just like the rest. It will have a correct 
first and last page, but wherever it is opened the 
pagination will be the same, viz., it will always open at 
pages 38, 39. This is placed at the bottom of the heap 
of unprepared dictionaries, as they lie on the perform¬ 
er’s table. 

The performer has further to prepare his own arms. 
On the left arm, just below the bend of the elbow, he 
writes, with red ink of good quality, or with Judson’s 
crimson dye, a little diluted, the twenty-fourth word 
(or otherwise, according to the number intended to be 
forced) on page 39, being the right-hand page of the 
faked dictionary. In like manner, he writes or gets 
somebody to write for him, on the right arm, the 
twenty-fourth word on the left-hand page (page 38). 

Thus prepared, the performer is ready to show the 
trick. When distributing the dictionaries, which he 
does more particularly to those spectators in his own 
immediate neighbourhood, he keeps the undermost 
(which is the faked one) to the last, and retains this in 
his own hand. Then, producing the little paper- 
knife, say from his vest pocket, he asks some lady to 
thrust it between the leaves. He leaves the book in 
her possession, the request that she will not open it 
just yet protecting it from any inconvenient examina¬ 
tion. The choice of right or left-hand page makes no 
difference to him, save that if the right -hand page be 
chosen he will produce the word on his left arm, and 
vice versa. 

For the forcing of the number a little address is 
required, but it really presents no difficulty. Before 
picking up the tray of mixed counters from the table, 
the performer gets the forcing counters (those bearing 


496 


Later Magic 

the number 24) into his left hand. Holding the tray 
in the same hand, these are concealed under the rim. 
After inviting some one to take a handful of the visible 
counters, he puts the tray down, and borrows a hat. 
Receiving it in the right hand, he transfers it to the 



Fig. 204. 


left, which grasps it with fingers inside and thumb out¬ 
side (just as the hat is held in the familiar “Shower 
of money” trick). He takes back the handful of 
counters with the right hand, and apparently drops 
them into the hat; in reality retaining them clipped 
against the lower joints of the two middle fingers, and 
dropping the forcing counters from the left hand into 
the hat. They are heard to fall, and no one is likely to 





Later Magic 


497 


suspect the substitution. It is, of course, now a cer¬ 
tainty that the counter picked out of the hat will bear 
the number 24. 

It only remains to explain how the performer can 
show his arm (right or left, as the case may be) without 
exhibiting the word written on it. The secret lies in 
the fact that he first exhibits the arm as shown in Fig. 
203, when the writing is naturally concealed in the 
bend of the arm. He now lowers the arm vertically, 
apparently showing the opposite side of it. As a 
matter of fact, however, he at the same time gives it a 
half-turn; the effect being that it is the same side of the 
arm which is again exhibited, as in Fig. 204. 

It is an illustration of the force of audacity in 
conjuring matters, that though I have exhibited this 
trick, and others in which the same expedient is used, 
many scores of times, no spectator has ever, to my 
knowledge, conceived the remotest suspicion that both 
sides of the arm had not been shown. 

MY FRIEND IN THIBET. 

This, likewise, is a combination of my own. I in¬ 
troduce it at this point as having a sort of family like¬ 
ness to the trick last described, though, as will be seen, 
it is worked by a wholly different method. 

The effect of the trick is as follows: A playing-card 
is chosen (not forced) and placed in a box, which is 
left in the custody of the person who selected the card. 
A blank card is placed in an envelope (both freely 
chosen) with a minute fragment of lead pencil. A 
second blank card is chosen, and, with another frag¬ 
ment of pencil, is enclosed in an envelope in like man- 
32 


498 


Later Magic 


ner. The performer invites the audience to choose on 
which of the two cards thus enclosed the name of the 
drawn card shall be written, and this is done accord¬ 
ingly. The envelope not chosen is opened, and the 
card therein found blank, just as it was placed in the 
envelope. 

The requirements for the trick are as under: 

1. A pack of ordinary playing-cards. 

2. A pack of blank cards, about the same size. On 
one of these is written, in pencil, the name of a card, 
say “Seven of Spades,” and this is laid, writing down¬ 
wards, on the top of the pack. 

3. A packet of ordinary envelopes. 

4. A couple of lead pencils, sharpened to extremely 
fine points. 

5. A “changing card-box.” 

Of the last mentioned, as the reader is doubtless 
aware, there are many varieties, ranging from the re¬ 
versible box with a loose flap simply falling from the 
one part into the other, to the more elaborate boxes in 
which the change is made by a spring flap rising up and 
folding the card openly placed in it against the back or 
front of the box, and at the same time uncovering one 
previously placed at the bottom. The box used for 
this trick should be of the second kind, the box with 
loose flap being, for the present purpose, less suitable. 1 

The box is prepared by laying the seven of spades 
(not a duplicate, but taken from the pack used) in it 
face downwards, and setting the flap so as to conceal 
it, the box thus appearing empty. 

The performer begins by asking some one to shuffle 

1 Modern Magic , pp. 134-137. In place of the card box, the card 
tripod (p. 139) maybe used. 


Later Magic 


499 


the cards, and, having done so, before returning the 
pack, to take a card from it. He remarks, “A good 
many people have fancied that I get to know the cards 
they draw by thought-reading; so please don’t look at 
the card, or allow anybody else to do so. To prove 
that I don’t take advantage of you in any way, you 
shall put it in this little box, which I will leave in 
your own keeping.” 

As the card is not to be looked at, it is naturally laid 
in the box face downwards, and the closing, or locking, 
as the case may be, of the box “changes” the card for 
the one previously inserted. Having got so far, the 
performer takes the pack of plain cards, palms off the 
top one, and hands the cards to some one, inviting him 
to make sure that all are perfectly blank. When the 
cards are returned, he again lays the palmed card on 
the top, and requests some one to draw one of them; 
to examine it carefully, and to inform the company 
whether there is any mark or writing upon it. If so, 
or if he thinks his choice has been influenced in any 
way, he is at liberty to choose another. The card being 
certified blank, the performer takes it back and lays it 
on the table, with the remark, “Very good, then we 
will use that card for our experiment. Now I will ask 
you to choose an envelope from this packet.” 

As a matter of fact, during the half-turn to the 
table, he changes the card, by the familiar filage , 1 
for the one on the top of the pack, which, it will be re¬ 
membered, is the one written on, so that it is really the 
latter which is laid upon the table. 

An envelope having been chosen, he takes this in his 
left hand, and the card in his right, remarking, “Let 
1 Modern Magic , p. 30. 


500 


Later Magic 


me show you once more, before I place the card in the 
envelope, that there is nothing on either side of it,” 
and he shows both sides accordingly. So, at least, he 
appears to do; but here comes in a little piece of sleight 
of hand, having the same effect as the peculiar method, 
of showing the arm in the last trick. The card is held 
upright between the first joints of the first and second 
fingers of the right hand, and the thumb brought in 
front of it (i. e., on the side which faces the spec¬ 



tators). The hand is then dropped as if to show the 
opposite side of the card, but in so doing the lower 
half is pressed upwards with the thumb, so as to make 
it describe a semicircle. The second finger moves out 
of the way, and the card is left between the thumb 
and first finger, as shown in Fig. 205, exhibiting to the 
spectators the same side as before. 

After such repeated proofs, the most sceptical can¬ 
not entertain a doubt that the card is really blank. 
The performer places it in the chosen envelope, and, 
breaking off a minute fragment from one of the lead 






Later Magic 


50 


pencils, drops this in with it, after which he fastens 
down the envelope. He then has a second card and 
a second envelope chosen, and proceeds as before, save 
that this time, the card being really blank, he actually 
does show both sides of it before putting it in the 
envelope. 

The performer now takes the envelope containing 
the card written on, which we will call No. 1, in the 
left hand, between the forefinger and thumb, and the 
other, which we will call No. 2, in the right hand, be¬ 
tween the first and second fingers. Standing so that 
the table is behind him, a little to the left, he continues 
his oration, as follows: 

“ Now, ladies and gentlemen, there is a card in that 
box which has been freely chosen. What it is you 
don’t know; / don’t know; in fact, nobody knows,— 
at least on this side of the water; but there ’s a friend 
of mine in Thibet (he ’s a Mahatma, between ourselves) 
who knows everything, and I am going to ask him to 
write the name of the chosen card by wireless tele¬ 
graphy on one of the blank cards enclosed in these 
envelopes. Which of the two cards shall he write it 
on? It is all the same to me, and all the same to him, 
but it will prove to you beyond a doubt that there is 
‘no deception.’ ” 

It is an even chance that the choice falls on envelope 
No. 1, when there is no further trouble. If, however, 
it falls on No. 2, the performer is equal to the occasion. 
“Then this one,” he remarks, indicating No. 1, “won’t 
be wanted.” Making a momentary half-turn to the 
left he places it, ostensibly, on the table; but in so 
doing “changes” the two envelopes; so that it in 
reality is No. 2 that is placed on the table, and No. 1 


502 


Later Magic 


that is left in the right hand; after which nothing re¬ 
mains but to look at the card, open the envelope, and 
see that the friend in Thibet has executed his task. 
The second envelope is then opened, and the card, of 
course, found blank. 

The “change” used to reverse the envelopes is the 
familiar card-change, save that it is worked without 
the pack , under which conditions, by the way, it be¬ 
comes very much easier. It is, of course, equally 
available for changing two playing-cards, but, curiously 
enough, nobody ever appears to have made use of the 
change in this shape until I chanced to hit on it as a 
useful expedient for the purpose of this trick. Any¬ 
how, I have never seen any one use it, and do not find 
any record of any one’s having done so. 

THE FLYING THIMBLE. 

This admirable little trick, in its original form, is the 
invention of Mr. David Devant, but it has been ex¬ 
panded in half a dozen different directions. In its 
essence, it is simply the passage of an ordinary sewing 
thimble from the forefinger of one hand to that of the 
other, or elsewhere, but the amount of diversity which 
may be introduced even into so simple an effect is 
surprising. 

As a preliminary, the performer must acquire the 
power of thumb-palming the thimble after the manner 
shown in Fig. 206. The thimble being in the first in¬ 
stance placed on the tip of the forefinger, as a, this lat¬ 
ter is rapidly bent into the fork of the thumb, which 
closes upon it. (See b in same figure.) The finger 
being again extended, the thimble is left palmed, as 


503 


Later Magic 


in c. A reverse movement brings the thimble from 
the fork of the thumb to the tip of the finger again. 
This little sleight is by no means difficult of acquisition, 
and, if performed with the arm in motion, the smaller 
movement of the finger is quite invisible. The only 
point requiring special caution is to keep the hand 
wherein the thimble is palmed with its back towards 
the audience. 

For the performance of the complete trick two thim¬ 
bles are used, but, as it is important that the spectators 
should not suspect this, it is as well to commence with 
a few passes in which.it can be seen clearly that one 



thimble only is employed. The second thimble may 
either be vested, mouth downwards, or placed, mouth 
upwards, in the left-hand waistcoat pocket; anywhere, 
in fact, where the performer can get secret possession 
of it at a moment’s notice. 

For the moment we will consider that he is working 
with one thimble only. Placing this on the tip of his 
right forefinger, he makes the motion of transferring it 
to the left hand, which forthwith closes as if containing 
it. As a matter of fact, however, it is thumb-palmed 
in transit, and it is the bare forefinger only which 
comes into contact with the left hand. With this same 




504 


Later Magic 


hand the performer pats himself on the top of the head, 
and after a momentary pretence of trying to swallow 
something that won’t go down, produces the thimble 
from his mouth. This sleight is merely the former 
reversed, the thimble being transferred from the thumb- 
palm to the finger-tip just as the latter reaches the 
mouth. 

The performer may now apparently place the thimble 
in the mouth (thumb-palming it as he does so), and 
reproduce it from his beard under cover of a pretended 
pull at the latter. If he does not happen to wear a 
beard, he may with the left hand pick up a lighted 
candle, blow it out as if blowing the thimble into the 
candle, and with the right hand reproduce the thimble 
from underneath the candlestick. If the sleight is 
neatly worked, the illusion is in each case complete. 

Having done as much as he cares to do with the one 
thimble, he secretly gets the second into the left hand, 
and proceeds to work with the two. 

Space only permits of my giving one or two of the 
possible “passes.” Mr. Devant usually begins the 
two-thimble work by holding the hands as depicted 
in Fig. 207, the right hand having at this stage a 
thimble on the forefinger, and the left a second con¬ 
cealed in the fork of the thumb. He waves the 
right hand backwards and forwards alternately before 
and behind the other. As the fingers of the right hand 
pass out of sight behind the left, the visible thimble is 
palmed as above described. At the same moment the 
forefinger of the left hand is bent and again 
with a thimble on it, the effect to the specta 
that it has flown from the one forefinger to 1 . 


505 


Later Magic 

Some of the passes exhibited with the one thimble 
may be executed still more effectively with two. Thus 
the thimble may be placed (after the deceptive fashion 
already described) in the mouth, and reproduced with 
the other hand from the back of the head. It may 
then be inserted in one ear and brought out of the 
other. 

Another pretty effect may be produced, the per¬ 
former being in a seated position, by bringing the 



hands down thrice with a slap upon the knees, at the 
same time (after the manner of the “Fly away, Jack; 
fly away, Jill” of our childhood) saying, “One, two, 
three!” At the word “three” the thimble passes 
from the forefinger on which it was first seen to the 
other. 

The principle of the trick once mastered, it will be 
an easy matter for the amateur to devise passes for 
himself; though it will probably be some time beiore 
he is able to execute them with the ease and finish of 
the original inventor. 


506 


Later Magic 


THE THIMBLE AND PAPER CONE. 

There is another version of the trick, in which two 
thimbles of light substance are used, so arranged in 
point of size that the one shall fit neatly over the other; 
the two, in such condition, appearing as one. 

The two thimbles, one upon the other, are shown 
together on the forefinger. The performer makes a 
little cone out of soft paper, trimming its edges level 
with a pair of scissors. This he places over the visible 
thimble, “just to try if it fits,” as he says. He then 
takes it off again, and places it on the table. The 
thimble which was seen on the forefinger still remains 
there. 

He now undertakes to pass this thimble visibly 
under the cone. He flourishes the right hand over it, 
and at the same moment thumb-palms the thimble 
from the finger-tip; immediately picking up the cone, 
and showing that the thimble (professedly the same) 
has really passed beneath it. 

The reader will hardly require to be told that when 
“trying how the cap fitted” the performer lifted off 
with it the outer of the two thimbles, and that it is 
this thimble which afterwards appears beneath it. 

THE PATRIOTIC THIMBLE. 

The neat little trick to which Messrs. Hamley have 
given the above title has considerable affinity in effect 
with that last described. 

The material of the thimble is in this case celluloid, 
coloured, in successive circles, red, white, and blue. 
The performer offers the thimble for examination. 


Later Magic 


507 


While it is being inspected, he takes a little piece of 
soft paper and twists it into a cone, just large enough 
to conveniently cover the thimble. Placing the latter 
on his forefinger, he covers it with the paper cone, and 
takes off both together. The finger is left bare, but to 
prove that there is “no deception'’ he allows any one 
to assure himself, by feeling the cone either on the out¬ 
side or in the inside, that the thimble is really within 
it. Yet, on replacing the cone for a moment on the 
forefinger, and again removing it, nothing is seen on 
the finger, and the cone collapses, empty. 

Such is the effect of the trick. The secret lies in the 
fact that the performer is provided with a second 
thimble, or cover, of the same material, but not 
coloured, fitting easily over the thimble proper. This 
outer thimble, being transparent, is imperceptible at a 
little distance when placed over the other, and equally 
so if placed alone on the performer’s finger, so long as 
the hand is not kept absolutely motionless. 

The outer thimble, or shell, is tucked, till needed, 
mouth downwards, under the vest. While attention 
is drawn to the thimble and cone, the performer gets 
this into the right hand, and thumb-palms it. When 
the thimble is returned to him, he places it on the 
forefinger, and under cover of a wave of the hand 
makes the motion of thumb-palming, but actually 
thrusts the thimble into the shell, and brings up both 
together on the tip of the finger. He now covers 
both with the paper cone. In the act of taking this 
off again, he removes the shell with it, and at the same 
moment thumb-palms the genuine thimble. It is, 
therefore, the shell only which the enquiring spectator 
feels within the cone. 


5°8 


Later Magic 


While the general attention is thus occupied, the 
thimble proper is vested, or otherwise got rid of. 

The shell and cone are once more placed on the fore¬ 
finger, and the cone alone removed. The latter, now 
empty, is crushed between the fingers of the left hand, 
while the right is flourished in full sight of the spect¬ 
ators. The shell being, as before stated, transparent, 
the forefinger is apparently bare; becoming actually 
so when, a moment later, the shell is in its turn thumb- 
palmed, to be got rid of at the first convenient oppor¬ 
tunity. 

THE MULTIPLYING THIMBLE. 

This brilliant development of the thimble trick is 
the invention of Mr. Roterberg, of Chicago, but he 
must divide honours with Mr. Maurice Garland, 
already mentioned, who has made in the working of 
it sundry improvements, minute in themselves, but 
adding largely to the finish of the illusion. 

The effect of the trick is, briefly, as follows: After 
showing the right hand empty, the performer catches 
from the air a thimble, which lands on the top of his 
right forefinger. After one or two of the customary 
thimble passes, this vanishes, and is reproduced from 
under the left elbow. Other passes follow, both hands 
remaining constantly in view, but at a given moment 
each finger of the right hand is seen to be capped by 
a thimble. Before the spectators have had time to 
recover from their astonishment at so unexpected a 
manifestation, lo! the left hand also is shown, and on 
this, too, every finger wears a thimble. 

Eight thimbles in all are used. According to Mr. 
Roterberg’s original idea, they were graduated in size, 


509 


Later Magic 

but it is found better to have them all alike, of such a 
size as will fit fairly well on any finger of the per¬ 
former. Four of these are accommodated in a row, 
mouth downwards, in four loops of elastic,- attached 
to a little metal plate stitched to the trousers just 
below the vest (see Fig. 208). The other four are 
disposed as follows: One is vested on the right side, 
another is inserted between two of the vest-buttons, 
and a third between the neck and the shirt-collar on 
the right side, the mouth being in each case outwards. 
The fourth is thumb-palmed in the right hand. 



Fig. 208. 


After a few remarks, accompanied by a certain 
amount of gesture, designed to convey the impression 
that there is nothing in either hand, the performer 
makes a grab at the air, at the same moment trans¬ 
ferring the thimble from the thumb-palm to the tip 
of the forefinger, where it is duly exhibited. Laying 
this finger on the palm of the left hand and closing 
the latter, the performer withdraws the finger and 
shows it bare. The spectators naturally expect to 
find that the thimble has somehow vanished from the 
left hand, but they are mistaken. With a “wouldn’t- 
deceive-you-for-the-world ” expression, the performer 
opens his hand and shows that the thimble is there. 
He repeats the movement of placing it in the left hand, 





Later Magic 


5io 

but this time thumb-palms it, and reproduces it on 
the third finger from under the left elbow. Again he 
ostensibly places it in his left hand, but this time 
palms it, not in the fork of the thumb, but in the palm 
itself, and crooks the left elbow as if again about to 
produce it from thence. While the general attention 
is thus attracted in this direction, he inserts the tip of 
the little finger into the thimble, allowing this finger 
to remain slightly bent into the hand. 

This last movement is one of Mr. Maurice Garland’s 
improvements. The trick, as originally devised, con¬ 
templated the getting of the thimble direct from the 
thumb-palm on to the tip of the little finger, a thing 
extremely difficult to any one, and to many persons 
impossible. Mr. Garland’s plan of getting the thimble 
first on to the third finger, and thence into the ordinary 
palm, meets this objection, as, in the latter position, 
the little finger can reach it without difficulty. Then, 
with the remark, “ No, it is n’t there; it’s here,” or some¬ 
thing to that effect, he inserts the right forefinger under 
the vest, and brings out on it a thimble, professedly 
the one which had just previously disappeared. 

For the next pass, he holds up the left hand, with 
fingers extended, and the back of the hand turned to 
the spectators; the right hand being held up behind 
the left, with the thimble last obtained visible above 
it on the tip of the forefinger. He draws the right 
hand slowly down behind the other, and at the mo¬ 
ment when the thimble has passed out of sight thumb- 
palms it, closing the left hand on the forefinger, which 
is then slowly drawn out below. The spectators nat¬ 
urally believe that the thimble has been left in the 
hand. Meanwhile, the performer gets it out of the 


Later Magic 511 

thumb-palm on to the tip of the third finger; bending 
this finger also somewhat inwards to the palm. 

After showing that the thimble has somehow van¬ 
ished from the left hand, he pokes the forefinger of the 
right hand into thimble No. 3 (the one that was 
tucked in between the vest buttons), and exhibits 
this as being the one missing. Showing this thimble 
on the forefinger, he puts it into his mouth; that is, 
he appears to do so; in reality, thumb-palming it in 
transit. While calling attention to his mouth by an ap¬ 
parent endeavour to swallow the thimble, he transfers 
it from the thumb-palm to the tip of the middle finger, 
which he bends, like the others, into the palm. Finding 
apparently that he cannot get the thimble down, he 
shakes his head, and a moment later produces it on 
the tip of the forefinger from inside the collar. 

He now has a thimble on each finger of the right 
hand; though, if the trick has been well executed, the 
audience believe him to be throughout working with 
one only. The fact of three fingers being curled into 
the hand, which would under most circumstances look 
suspicious, is not so in this case, because the tip of the 
forefinger is the most appropriate place for a thimble, 
and on the assumption of one thimble only being used, 
this is the natural manner in which to show it. 

It would, however, be inartistic to exhibit the four 
thimbles immediately at this stage. Once more the 
performer apparently places the one thimble only* (that 
on the forefinger) in the left hand; thumb-palming it and 
showing the hand empty. He then replaces it on the 
finger and produces all four from under the left elbow. 

While the general attention is called to this new 
development, he makes a half-turn to the left, and, 


Later Magic 


5*2 

inserting the fingers of the other hand under the vest, 
gets a thimble on each. He does not, however, at 
once produce them, but thumb-palms the one on the 
forefinger and bends the other three fingers into the 
palm. With the outstretched forefinger he indicates 
the right hand; then slowly moves the right hand 
round the left. Just as the latter passes behind the 
left hand, he again brings the thimble on to the left 
forefinger, and, spreading the hands apart, shows that 
each finger is duly capped. 

The trick is not one that demands any great amount 
of dexterity. On the other hand, it requires a very 
large amount of address. The effect depends mainly 
upon the “go” with which the performer works it. 
Unlike most tricks, it should be worked at a rather 
high speed. The audience must not be allowed any 
time to think over the various steps of the illusion; 
and, as in most tricks dependent on palming, the per¬ 
former must make full use of his eyes, following the 
thimble at each stage to the hand in which it is pro¬ 
fessedly placed, and, so far as facial expression goes, 
showing his own conviction that it is really where he 
has pretended to place it. 1 

1 Since the above description was written, one or two material 
improvements have been made in the thimble-holder. Mr. C. O. 
Williams suppresses the four eyelets, and in place thereof solders 
to each comer of the plate a bent pin, the pair at top pointing 
downwards, and those at the bottom pointing upwards. These 
four little hooks obviate the necessity of stitching the appliance to 
the trouser, where it is sometimes rather in the way. Mr. Williams 
also bends over the upper edge of the plate, so that it shall butt 
against the closed ends of the thimbles, this arrangement enabling 
them to be extracted by the fingers with greater ease and certainty. 
Messrs. Hamley, with the same object, substitute for the rubber 
loops a pair of spring clips to hold each thimble. 


Later Magic 


5i3 


THE VANISHING THIMBLES. 

Yet another pretty variation of the thimble trick is 
the invention of a Belgian wizard, M. Van Lameche. 
It may either be exhibited independently, or follow 
one of the other effects already described, the special 
thimbles employed being privately substituted for 
some of those already used. 

Three thimbles are necessary. They should be of 
thin metal, graduated in point of size, so that No. 2 
shall just go over No. 1, and No. 3 over No. 2. As 
they are intended to fit closely together, and when so 
fitted to appear as one, they are better without the 
usual bead around the edge. 

At starting, No. 1 is placed on the first finger, No. 
2 on the middle, and No. 3 on the third finger, and the 
hand is shown in this condition. Remarking, “ I will 
now transfer one of these thimbles to the other hand,” 
the performer makes the movement of doing so. When 
the right hand reaches the left, No. 3 is drawn off the 
third finger, and the second finger (which during 
the transit has been slightly flexed, in readiness for the 
movement) is inserted in it. The left hand is closed 
and withdrawn, professedly containing thimble No. 3, 
which, however, now actually covers No. 2, leaving 
the appearance of the right hand unaltered. After a 
momentary interval, filled up by some appropriate 
remark, the left hand is opened, and the thimble is 
found to have disappeared. 

The same manoeuvre is then repeated, Nos. 2 and 3 
being together passed on to No. 1. All three are then 
“vanished” simultaneously by means of the thumb- 

palm in the usual way. 

33 


Later Magic 


5H 

M. Van Lam&che’s scheme does not include the repro¬ 
duction of the thimbles, but this might easily be ar¬ 
ranged; by placing, say, a spare thimble in the left 
vest pocket, another inside the collar, and a third in 
the left ear; each thimble reproduced being put aside 
on the table as done with, and so remaining till the 
conclusion of the trick. 

THE CHANGING DICE. 

Readers of Modern Magic may recall a pretty little 
sleight-of-hand trick with a pair of dice, 1 the points of 
which are made to change in a mysterious manner. 
Two or three new ideas have been imported into the 
trick, involving not only an improvement in the 
method of working, but considerable novelty of effect. 



To make the following explanation clear, it will be 
necessary to recapitulate to some extent the instruc¬ 
tions previously given. The performer, holding the dice 
as shown in Fig. 209, was directed first to exhibit the 
upper faces, and then (by raising the hand) the lower; 
then to “change” the latter, professedly by rubbing 
with the forefinger of the opposite hand, but actually 
1 Page 268. 



5i5 


Later Magic 

by a slight upward movement of the thumb, com¬ 
pelling the dice to describe a half-turn on their own 
axis, this to be done under cover of lifting the arm for 
the second time. 

The improvement in working to which I have al¬ 
luded consists in changing the lower faces of the dice 
during the first upward movement of the arm, bringing 
them back to their normal position as the hand de¬ 
scends. When the lower faces of the dice are ex¬ 
hibited for the second time, they simply retain their 
position, and the performer may therefore even allow 
his wrist to be held, and his right hand to remain per¬ 
fectly motionless, while he passes the forefinger over 
the faces of the dice to “change” them, no further 
movement being required. 

Of course an expert in the use of dice would know, 
as remarked in Modern Magic , that the upper and 
lower faces of a properly made die invariably amount 
to “seven,” and might call attention to the fact that 
those first shown as the points of the lower face are not 
quite as they ought to be. It is found, however, that 
so few people are experts in this particular, or, if they 
are so, trouble themselves to use their knowledge, that 
any fear of objection on this score may be safely 
disregarded. 

Another variation, in this case in point of effect, is 
to suppress the points of the dice altogether, but to 
have them specially coloured, three of the sides (one 
of them being that at right angles with the other two), 
say, white, and the other three black. The working is 
practically the same as in the other case. 

Thus, we will suppose the cubes, coloured as above, to 
be taken between the finger and thumb as in Fig. 209. 


Later Magic 


5i6 

The exact placing, however, is a matter of importance. 
They must be so arranged (for this particular purpose) 
that the sides next the thumb are black, as also the two 
lower and the two end surfaces. Under these condi¬ 
tions, the performer lowers his hand and shows that 
the upper surfaces are white. He raises it to show the 
lower faces, but in so doing makes the upward half- 
turn with the thumb, under which circumstances the 
lower surfaces appear white also. Having allowed 
the spectator to fully satisfy himself on this point, he 
lowers the hand once more, bringing the dice back 
to their normal position, passes the forefinger over 
their lower faces, and again shows them 
without making the turn, when they are 
no longer white, but black. 

Again, take the same dice between 
finger and thumb, but placed as shown 
in Fig. 210. The innermost of the two should now 
have one of its black sides, as shown, at top, one to 
the front and the other in contact with the second 
die. The white faces of the latter should be on the 
top, next the finger and next the other die. 

The performer shows, as before, the upper faces, in¬ 
viting the spectators to note that the white face is 
nearest the tips of the fingers. He then (making the 
turn) shows that in the case of the lower faces the 
white face is likewise outermost. When he again 
shows the lower surfaces, without the turn, they are 
found to have changed places, although the upper sur¬ 
faces remain as before. 

In another form of the trick, dice are used each of 
which has five sides white , and one black. When 



Fig. 210. 



Later Magic 


5i7 


taken between the finger and thumb the black sides 
are undermost, but after having shown the upper 
surfaces, the performer, in the act of raising the hand 
to show the under sides, makes the dice describe the 
usual half-turn, so that the sides actually shown are 
white. In again lowering the hand he brings the dice 
back to their original position. Drawing the finger 
across the under surfaces, he raises the hand without 
making the turning movement. The dice are thus 
shown in their original position, the lower faces being 
now black. When he desires the black to disappear 
he lowers them once more, and on again raising them 
does so with the turning movement as at first. 

To produce the maximum effect in this case, the 
performer should provide himself with two pairs of 
cubes, one pair being white all over. These are handed 
for examination, and when returned are taken back with 
the left hand, and apparently transferred to the right* 
in which the trick dice are already hidden. These are 
then placed in position and the trick worked as above. 
As the whole attention of the spectators is given to 
the right hand, there is nothing to prevent the plain 
dice remaining in the left hand (held by a slight 
contraction of the hand against the roots of the second 
and third fingers) and being again substituted for 
the others at the conclusion of the trick. 

Other changes may easily be devised by any one who 
cares to study the subject, and among what may be 
called “pocket” tricks I know none that are more 
effective. Of course, save where the “change” last re¬ 
ferred to is employed, there is no concealment of the 
fact that the dice are of two colours. I am indebted 


5i« 


Later Magic 


to Messrs. Hamley for the knowledge of an ingenious 
expedient whereby an examined die may be made 
apparently to change completely from black to white, 
though it is in reality only of the first-named colour. 

The die in this case is used not in pairs, but singly. 
It is a neat little affair of ebony, or other black wood, 
three quarters of an inch square, with sunken white 
spots. After being submitted, in a casual, off-hand 



Fig. an. 


way, for examination, it is held between the fore¬ 
finger and thumb of the left hand by two diagonally 
opposite comers, as shown in Fig. 211. three of its 
sides being thus simultaneously exposed. The per¬ 
former has but to pass the finger of the opposite hand 
over it, in an upward direction, when it is seen to have 
changed not only points, but colour, being now white, 
with black spots. Another touch of the right hand, 
and it becomes black as before. It is immediately 
handed for examination, but nothing is found to ex¬ 
plain the mystery. 




5 l 9 


Later Magic 

The secret lies in the fact that the solid die, a, is used 
in conjunction with a tin shell, b , which exactly fits 
over it, covering three of its sides. This is enamelled 
white, with black spots. After the die has been ex¬ 
amined, this is privately passed over it, and the die is 
arranged in the hand, as shown in the diagram, in 
such a way that only the three uncovered sides are 
visible. 

When the die is for a moment covered by the oppos¬ 
ite hand, it is made to perform a semi-revolution, 
bringing the three white faces to the front. 

When the trick is over, the die is taken in the right 
hand, and allowed to drop out of the shell, the latter 
being then palmed, and the die offered for examin¬ 
ation. 

CHAMELEON WATER. 

The apparatus for this trick consists of a clear glass 
jug of about a pint capacity, 1 filled with distilled 
water (this is procurable of any druggist), and seven 
wineglasses alike in shape. The performer pours 
water from the jug into the various glasses, and back 
again, when it changes (apparently) from water to 
ink, ink to water, water to wine, and wine to water, 
in a most bewildering manner. This trick has been 
deservedly called “The King of Chemical Tricks.” 

The requirements are as follows: 

In the first place, the water must have dissolved in 
it a small quantity (say as much as will lie on a dime 
or sixpence) of tannin. This does not affect its 

1 A decanter is sometimes used, but the jug is somehow less sug¬ 
gestive of chemical preparation, and the liquids are more easily 
returned to it from the glasses. 


520 


Later Magic 


colour or clearness. The glasses must be arranged in 
a determinate order (preferably not a single row) on a 
tray, so that the performer can be sure of using them 
in proper succession. Of these, Nos. i and 3 are un¬ 
prepared. The remainder are prepared as under: 

Nos. 2 and 4 each contain two drops of perchloride 
of iron (“steel drops”). 

No. 5 contains ten drops of a saturated solution of 
oxalic acid. 

No. 6 contains ten drops of liquid ammonia. 

No. 7 contains sixty drops (a small teaspoonful) of 
sulphuric acid. 

With these before him, the performer is ready to 
show the trick. Holding up the glass jug, he remarks 
that no doubt all present will take this to be ordinary 
water, but such is not quite the case. It is water in 
which a chameleon has committed suicide, and which 
has thereby acquired the chameleon property of 
changing its colour. 

Filling the first glass, he holds it up to the light and 
asks if any of the audience would like to taste it, as¬ 
suring them that the flavour of dead chameleon is 
really not very objectionable. No one is likely to 
accept the offer, though if some rash schoolboy did so 
(and “Stalky & Co.” do sometimes rush in where wiser 
persons fear to tread), he would be none the worse for 
a sip at this stage, and the flavour of the tannin in so 
small a quantity is only just perceptible. If he did 
notice anything peculiar, it would naturally be put 
down to the chameleon. 

Before filling the second glass the performer waves 
his wand over it, and, when filled, the contents, in¬ 
stead of water, appear to be ink. “ It’s all done by 


521 


Later Magic 

the power of the magic wand, ladies and gentlemen. 
This time I will abstain from using the wand” (he fills 
glass No. 3), “and the water remains clear as at first. 
Again I wave the wand” (he fills No. 4), “and the 
water is as black as if a nigger had washed in it. Per¬ 
haps it may look better if we put it back in the jug.” 
He returns the contents of all four glasses to the jug, 
all of the water in which then appears to be ink. 
“That does not seem to be much improvement,” he 
remarks, refilling the four glasses as before. “What 
am I thinking of?” he exclaims, as he reaches the last. 
“I quite forgot to use the wand.” He waves the 
wand over the fifth glass, and fills it from the jug. 
The black fluid has again undergone a change. The 
contents of the glass appear to be clear water. 

He now waves the wand over the jug and pours the 
contents of all five glasses into it, beginning with No. 5. 
The moment this is poured into the jug, the contents 
of the latter become clear again, and the same thing 
happens with the contents of each of the other glasses, 
as they are poured into the jug. 

The performer, remarking, “That is better. Black 
is an ugly colour. I am glad we have got back to clear 
water,” refills glasses 1, 2, 3, 4, and 5, but at this point, 
as if bethinking himself, says, “ But perhaps you would 
like to see another change. Observe, this time I wave 
the wand in the opposite direction.” He waves the 
wand over glass 6, and fills it. The supposed clear 
water immediately turns to a claret colour. 

Again waving his wand over the jug, he pours all 
back, beginning with No. 6, and the whole contents 
become claret colour. Once more he fills the glasses 
(1 to 6); the contents of all are still claret colour. 


522 


Later Magic 


Another wave of the wand, and as he fills glass No. 7 
the colour disappears. 

He pours back all into the jug, beginning with No. 
7, and all is in appearance clear water, as at first. 

The reader should be cautioned that some of the 
above chemicals are distinctly unwholesome. The 
amalgamated liquids should therefore be placed out 
of harm’s way as soon as possible. 

A further caution. The chemicals employed should 
be of the best quality, as any impurity, either in these 
or in the water used, would be prejudicial to the com¬ 
plete success of the experiment; hence the recom¬ 
mendation to use distilled water. 

The quantities above given should be carefully 
checked by experiment, as, according to the strength 
and purity of the drugs, a trifle more or less may in 
some instances be necessary to produce a perfect 
result. 

A very similar and equally pretty trick, though the 
effect is produced by wholly different means, is that of 

RAINBOW WATER. 

A tray with a decanter full of water and half a 
dozen wineglasses is placed upon the table. The per¬ 
former gives some fanciful account of the origin of the 
water, which he alleges to have the curious property of 
.assuming different colours at command. This he pro¬ 
ceeds to illustrate, as follows: 

Taking up one of the glasses, he fills it from the de¬ 
canter. The water remains unchanged. He takes up 


Later Magic 523 

the second glass and touches its lip with the wand. 
“This time,” he says, “the water shall become crim¬ 
son,” and the water poured out is crimson accordingly. 
He fills a third glass, touching it with the wand as 
before, and the water is deep blue. Filling a fourth 
in the same way, the colour is violet. 

By this time the spectators naturally begin to suspect 
that the water is not quite plain water, and that the 
glasses are somehow chemically prepared. To prove 
that such is not the case, the performer takes the glass 
first filled, invites some one to taste the water in it, and 
pours the remainder back into the decanter. He then 
hands the glass just emptied and the two remaining 
glasses to the company, who satisfy themselves that 
there is no preparation about them. They are then 
invited to choose any one of the glasses, which he forth¬ 
with fills from the decanter. “Observe,” he says, 
“the water remains—as it was at first—pure water. 
It is the influence of the wand which makes the differ¬ 
ence.” He pours the water back again. “What 
colour shall we have now—orange, scarlet, or green?” 
He touches the same glass with the wand, and again 
fills it, when the water is seen to be of the colour 
chosen. The other two colours are produced in like 
manner. 

The secret lies in an ingenious preparation, partly of 
the glasses, partly of the decanter. To begin with, the 
performer procures aniline dye in powder, of six differ¬ 
ent colours, say, crimson, blue, violet, orange, scarlet, 
and emerald green. (These are sold in penny tubes, 
one such tube of each being sufficient for a dozen per¬ 
formances.) Mixing glycerine and water in equal 
proportions, he moistens each powder separately with 


Later Magic 


5 2 4 

the mixture, and rubs it down to the consistency of 
cream. 1 

The glasses we will distinguish by the numbers 1, 2, 
3, 4, 5, 6, answering to their positions on the tray. 
Nos. 2, 3, and 4 are prepared by inserting at the 
bottom a little dab of each of the first three colours. 
Nos. 1, 5, and 6 are left unprepared. The lip of the 
decanter is prepared with the three remaining colours, a 
dab at each of the points marked a, b, and c , in Fig. 
212. The fourth point, d, is left vacant. 



The working of the trick will now be readily under¬ 
stood. In filling glasses 1, 2, 3, and 4 the performer 
holds the decanter in such a manner that the water 
shall pass out over d. The result is that the liquid in 
glass No. 1 remains clear water, while that poured into 
2,3, and 4 takes in each case the colour of the dye in the 
glass. When in the later stage of the trick the per¬ 
former desires to produce clear water, he again pours it 
out over the point d, and for the remaining colours over 
a, b , or c , as the case may be. 

The actual performance of the trick is easy enough, 
but some care must be taken with the previous pre- 

1 For lack of glycerine, white sugar, dissolved in water so as to 
form a syrup, may be used. 


Later Magic 


525 


paration in order to be certain of producing a perfect 
result. The pigments must neither be too wet nor too 
dry, and the exact degree of moisture, as also the 
exact quantity to give the desired shade of colour, can 
only be ascertained by actual experiment. 

The performer should provide himself with a small 
funnel, preferably of glass, for pouring back the water 
into the decanter. Without this there would be some 
risk of washing the pigment off the lip into the de¬ 
canter, and so spoiling the trick. 

The addition of a little rectified spirit (in the propor¬ 
tion of about 1 in 8) to the water, is recommended as 
making the colours dissolve more rapidly. If no rec¬ 
tified spirit be at hand, whiskey makes a very fair 
substitute. 

THE MAGIC ORGAN PIPES. 

This capital trick, known on the Continent by the 
more romantic title of “ Le Souper du Diable ,” is said 
to be the invention of a wizard (amateur, I believe) 
named Antonio Molini. Whether he is as Italian as 
his name would seem to imply, I cannot say, it being a 
sort of unwritten law that if a conjurer adopts a stage 
name, he shall assume some nationality other than his 
own. In any case, the inventor may claim to have 
originated what is a rarity in conjuring, namely, a 
trick which is a genuine novelty, not only in effect, but 
in principle. 

The essential apparatus consists of six metal tubes, 
zinc, tin, or sheet brass, alike in length, but graduated 
in point of diameter so that the smallest passes easily 
through the next larger, and so on throughout. The 
metal may be either simply polished, or enamelled to 


526 


Later Magic 


taste. For stage purposes, the tubes should be twelve 
to sixteen inches in height, and range downwards 
from about six inches in diameter. 

Each tube should bear, conspicuously painted on it, 
a number, the largest being No. i, the next No. 2, and 
so on. 1 In the orthodox form of the trick these are 



arranged, as shown in Fig. 213, on a slab of plate 
glass, supported on low trestles. If, however, the 
performer finds this arrangement too costly, he may 

1 In the trick as originally produced, the smallest cylinder was 
made No. 1, and the tubes were successively exhibited from the 
smaller up to the larger, but the method described in the text is 
the easier to work. 

The set of cylinders is sometimes used without numbers, but 
each japanned a different colour. This is in some respects an im¬ 
provement, but in describing the trick, the use of the numbers 
makes the explanation clearer. 



























J“ / 


j ^aiui 




substitute for the glass slab a plain wooden plank, and 
for the trestles a couple of chairs. In either case, a 
plain wooden table, with seats for two persons, should 
stand close by. 

Briefly stated, the effect of the trick is as follows: 
The performer, having shown clearly that tube No. i 
is empty, proceeds to pass No. 2 through it, and then 
shows this also empty. No. 3 is then passed through 
No. 2, and No. 3 shown empty, and so on throughout. 
This done, the performer asks a couple of the specta¬ 
tors to step up on the stage, and join him at supper. 
They take their seats at the table, and he produces 
from the empty tubes, first, a table-cloth, glasses, and 
plates,—then a bottle of wine, a loaf (of the long 
“Vienna” shape), a sausage, eggs, a roast duck, and 
other eatables, in fact,—all the materials for a complete 
meal, even to a vase of flowers wherewith to decorate 
the table. The tubes are then “nested,” one within 
the other. The performer passes his arm through the 
innermost, makes his bow, and so carries them off the 
stage. 

The secret lies mainly in a very ingenious method 
of loading the tubes, and of transferring the contents 
from one to another. The largest, No. 1, is at the 
outset empty. The rest are all fully loaded, the con¬ 
tents being suspended from the upper edge of each 
tube by means of a hook, formed of a narrow strip of 
tin, bent into the shape shown at a in Fig. 213. It 
will be observed that the hook is bent at top at an 
acute angle, while the lower bend is rounded. The 
load is in each case suspended from the lower arm of 
this hook by means of a loop of black thread, in such 
manner that it shall hang midway, or a little lower, in 


Later Magic 


528 

the tube. There should at the top be a clear space of 
two inches. At the bottom, an inch, or less, may 
suffice. 

One of the most important loads is the bottle of wine, 
which is a specially prepared article. It is a black 
bottle, of the shape used for Burgundy. The bottom 
is cut out, and a false bottom of tii? r cemented in be¬ 
low the neck, just so far down as to leave room for a 
couple of glassfuls of wine above it. Near the lower 
edge of the bottle is drilled a small hole, through 
which is passed the thread to form the loop, and by 
means of such loop the bottle is suspended, upside 
down, in tube No. 2. • In the vacant space within the 
bottle are packed, also upside down, two small tum¬ 
blers, one within the other, and, within these, other 
small articles, say, a mustard-pot and salt-cellar. 

In tube No. 3 is suspended a table-cloth, rolled 
round a couple of table napkins and a like number of 
knives and forks, and held together by a couple of 
rubber bands, one- at each end. In No. 4 may be a 
sausage, a Vienna loaf, and a net containing a couple 
of hard-boiled eggs. In No. 5, a roast duck or chicken, 
which may be the genuine article, though it is more 
frequently a papier-mache imitation. In No. 6 is 
suspended, upside down, a vase of flowers, which may 
be so arranged as to expand freely when another 
rubber band, encircling them, is removed. 

On his own person the performer conceals, under the 
vest on each side, a couple of small plates. These 
should be of enamelled metal, as occupying less space. 

To exhibit the trick at its best it should be led up to 
by some more or less plausible story, accounting for 


Later Magic 


529 


the performer’s use of such comparatively out-of-the- 
way objects as (alleged) organ pipes. Much of the 
effect of the illusion will depend upon the skill with 
which this is done. I quote, a page or two farther on, 
a “traveller’s tale,” arranged to serve as introduction 
to the trick. When he reaches the appropriate stage of 
his discourse (which should be a little before he begins 
to call direct attention to the alleged emptiness of the 
tubes), the performer should take tube No. 1 in his 
hand, and without apparent intention so move it 
about as to let every one see that it is a plain, empty 
cylinder. Replacing this, and lifting up No. 2, he 
lowers it vertically into No. 1, and, when it is fairly 
down, lifts the latter off again at the top. The effect 
of this is that No. 1 lifts the hook off No. 2 on to its 
own upper edge, carrying away within itself the parcel 
which was suspended in No. 2, and so enabling the 
latter to be in turn shown empty. 

The same course of procedure is adopted with the 
remaining tubes, No. 3 being lowered into No. 2, No. 
2 lifted off, No. 3 shown empty, and so on throughout; 
the final condition of the tubes being that No. 6 is left 
empty, and all the rest loaded, each with the original 
load of the next lower number. Some amount of 
practice will be needed to work this portion of the 
trick with ease and rapidity. The more quickly 
(without manifest hurry) the operation is performed, 
the less time have the audience to reflect that, if the 
tubes were really empty, the obvious course would be 
to show them so at once, without the preliminary 
passing of one through another. 

Having completed this introductory process, the 
performer proceeds to lay his table, naturally beginning 
34 


530 


Later Magic 


with the production of the table-cloth. Having drawn 
this out of the appropriate tube (privately removing 
the rubber bands), he notices, with apparent sur¬ 
prise, that there is something wrapped up in the bundle, 
whence he in due course produces the table napkins, 
knives, and forks. He lays these down temporarily on 
the slab which supports the tubes, remarking, “There 
is something else here, I fancy.” So saying, he shakes 
out the table-cloth, and produces from under it, after 
the manner of the “fish-bowl” trick, first the one, and 
then the other pair of plates. 1 The other require¬ 
ments for the meal are in due course produced from 
the remaining tubes, and the professor proceeds to wait 
upon his two guests, whose probable embarrassment 
at being invited to eat under circumstances of such 
publicity is likely to cause some fun to the rest of the 
spectators. 

The hooks and rubber rings are quietly pocketed, 
and the performer brings the trick to a conclusion by 
packing the six tubes one within the other, as already 
mentioned,—the best possible proof that there is “no 
deception” about them. 

It will readily be understood that the performer is 
not limited to the production of the materials for a 

1 Sometimes a different plan is adopted. The performer comes 
forward, in the first instance, with a large table napkin thrown over 
one arm. Before commencing his patter he throws this on one 
side. When he has reached the stage at which plates are wanted, 
he picks it up again, and produces them from under it. 

It seems to me that the producing the plates from the table-cloth 
is the more artistic method, as the plates in such case appear to 
come, though indirectly, from the tube. The fact that they are 
larger in diameter than the tubes makes the production all the 
more magical. 


Later Magic 


53i 


supper. By modifying the patter accordingly, the 
tubes may be made equally available for the produc¬ 
tion of other objects, particularly such as are of a com¬ 
pressible kind. Indeed, some of the makers of magical 
apparatus have developed the trick in a new direction, 
by manufacturing articles specially for use with the 
tubes; as, for example, a bird-cage with a rising bot¬ 
tom, leaving just space above it for a living bird, with 
a vacancy below for the accommodation of multiplying 
balls, expanding bouquets, and the like. Lanterns, 
with coloured glass sides, to be produced lighted, are 
made after a similar fashion. These may, at the out¬ 
set, be themselves loaded with alligators, snakes, fish, 
or carrots, all of which are now made on the col¬ 
lapsible. principle. 

A recent number of the French magical serial, 
L'Illusioniste , contains the description of a new method 
of working the trick. In one sense it is distinctly in¬ 
ferior, inasmuch as only two of the six tubes are loaded, 
and the quantity of the production is proportionately 
limited. On the other hand, all the tubes are alike in 
size, and the passing of one tube through another 
(the necessity for which is the weak point of the 
original trick) is avoided. The method by which this 
is achieved is so novel, and at the same time so in¬ 
genious, that I cannot refrain from quoting it. 

The six tubes are numbered in Roman characters, 
cut out of glazed paper, and pasted on. The two 
loaded tubes bear in front of them the letters I., II., 
but only lightly stuck on (this may be done with soap 
or wax). No I. also bears on its opposite side the 
letters III., and No. II. on its opposite side the letters 


532 


Later Magic 


VI., these last being stuck on securely. The third 
tube bears the letters III., but the first I. is removable, 
and in like manner the V. of No. VI. Nos. IV. and V. 
are permanently marked with the appropriate letters, 
and have no specialty. 

The arrangement of the tubes at the outset is as 
shown in Fig. 214. For the sake of distinction, the 
permanent letters are shown black , the others being 
those which are removable. 


Qjr~ opposite side 

in \3 



The tubes on the extreme left (the original Nos. I., 
II.) are alone loaded, each containing, supported on 
separate hooks, three independent packages. The 
thread loops by which they are suspended may be of 
different lengths, as may be needed for the better 
accommodation of the packets. The writer of the 
article (M. Adolphe Blind, of Geneva) assures us that 
in two tubes eleven inches in height and five in diameter 
room can be found for a small table-cloth, two knives, 
two forks, two spoons, a Vienna loaf, two bottles 
(shells only, of enamelled zinc) fitting one within the 
other, two gelatine tumblers, a sausage, a couple of 
eggs, and a small lobster. 



















533 


Later Magic 

The performer begins by bringing forward for ex¬ 
amination tubes V. and VI. In returning, he peels off 
the V. from the VI. (transforming it into No. I.), and 
places it immediately behind No. II., No. V. being 
placed in front of the latter. The arrangement of the 
tubes is now as shown in Fig. 215. 

He next offers tubes III. and IV. for examination, 
and on the return journey peels off the loose I. from 
No. III., transforming it into No. II. He places this 
behind, and No. IV. in front of, No. I., and under 



Fig. 215. 

pretence of squaring them up, gives a half-turn to the 
original Nos. I. and II., transforming them, so far as 
the spectators are concerned, into Nos. III. and VI. 
The six tubes are now arranged as in Fig. 216. Then, 
remarking, “ Let me see; I have now shown you all but 
Nos. I. and II.,” or something to the same effect, he 
brings forward for inspection the two in the rear row 
which now represent those numbers. If this process 
is carried through with sufficient aplomb the spectators 
will be fully persuaded that they have examined all 
the tubes. 


534 


Later Magic 


The cylinders are now arranged in a row in accord¬ 
ance with their new numbering, the original No. VI. 
being now No. I., and the original III., No. II. The 
original No. I. has become No. III., and the original 
No. II., No. VI. (These last, it will be remembered, 
are the two loaded tubes.) Nos. IV. and V. retain 
their original numbers and their former position. 

The performer, standing behind the table, begins the 
production by extracting the rolled-up table-cloth 




Fig. 2 i 6 . 


from tube III. He spreads this out, and displays, em¬ 
blazoned on it, in bold letters, The Devil’s Supper. 
He holds it by two of its corners, outspread in front of 
the tubes, and under cover of this, while engaging the 
general attention with a little patter as to why the 
devil should require any supper, or should take this 
peculiar method of providing it, he transfers four 
packets (two from each of the loaded tubes) to the 
vacant tubes, one to each. 1 

1 The inventor does not explain how this is to be done; but by- 
holding the corners of the cloth between the second and third 
fingers of each hand, the thumb and forefinger would be left free 



535 


Later Magic 

This done, the cloth is laid on a table, and the pro¬ 
duction proceeds in regular course. 

The expedient already described for the production 
of the plates may, of course, equally be made available 
in this form of the trick. 

For the following patter (already referred to), which 
seems to me rather ingeniously conceived, I am in¬ 
debted to the German magical serial, Die Zauberwelt. 
Its only fault is that, to English ideas, it is a trifle 
lengthy. 

“ Ladies and gentlemen, with your permission I 
propose to exhibit a little experiment, which will serve 
on the one hand to show you what great advances have 
of late years been made in the art of magic, and, on the 
other, to prove what good service may now and then 
be rendered to humanity by the most unlikely objects. 

“ For instance, these receptacles before you. At 
first sight I dare say you may have taken them for 
pickle-jars, or something of that kind, but as a matter 
of fact they serve a very much higher use. I will re¬ 
late to you in a few words their history, and I will at 
the same time tell you a little secret connected with 
them. 

“ On my return voyage from India, which I had been 
visiting in order to study the wonders of the Indian 
fakirs, our crew sighted a ship aground near the Cape 
of Good Hope. Our captain hove to, to see if he 
could render any assistance. The passengers and 
crew had already left the wrecked ship and clambered 

to operate behind it, or, with a little modification of the hooks, the 
thumbs alone might suffice to lift the packages from one tube to 
another. 


536 Later Magic 

on to some rocks, where we found them, half dead of 
hunger. 

“We gave the poor wretches food, but I observed 
that one man took neither food nor drink. On ques¬ 
tioning him, I found that he was broken-hearted on 
account of the loss that had befallen him. He told me 
that he was an organ-builder, under contract to deliver 
and personally erect a church organ in a transatlantic 
city, and that now he had lost his all. 

‘ ‘ In the course of his story, he pointed to a heap of 
something covered with matting. On going closer I 
found it to consist of a number of metal organ pipes of 
various sizes. These pipes were all the old man had left, 
and now his only thought was to get them back to his 
home. It appeared to me that there need not be much 
difficulty as to this. When the victims of the ship¬ 
wreck had been fed, and were making ready to go on 
board our ship, I asked each of them to carry on board 
one or two of the pipes, so as to save at any rate some 
part of his instrument for the unfortunate organ- 
builder. I myself took a double armful, and carried 
them to the boat, and the others followed my ex¬ 
ample. 

“Our vessel started anew on its voyage, and at 
night, when the persons we had saved were asleep in 
their berths, I went on deck to see that the organ 
pipes were placed under cover. While I was thus 
employed, it struck me that, in order to impress all on 
board with the value of these pipes, I would make use 
of a few of them to exhibit a little trick which I had 
learned from an Indian fakir. Some of the passengers 
had openly expressed a fear that, our numbers being so 
largely increased by the presence of the shipwrecked 


Later Magic 


537 


persons, the provisions in store would scarcely suffice 
for the voyage, and that we should all have to go short 
of our proper allowance. To set this apprehension at 
rest, I determined to show the passengers, when fair 
weather should again allow them to assemble on deck, 
how something can be made out of nothing, and 
thereby dissipate any fears they might entertain of 
going short of food. 

“The next morning, in company with the organ- 
builder, I took in hand the stowage of the pipes. Some 
of them had been so knocked about in course of salvage 
that they were valueless to the owner. I asked him, 
however, not to throw them overboard, but to give 
them to me as a keepsake, which he readily agreed to 
do. With the help of a metal-saw which happened to 
be on board, I cut down the best parts of these very 
bruised pipes, which were of various sizes, to pretty 
nearly the same length, and prepared them for my 
experiment. 

“Shortly afterwards, one fine afternoon, I invited 
all hands to assemble on deck. When they were seated 
before me, as you are at this moment, and after I had 
expatiated, in eloquent terms, on the great value of 
organ pipes and the unlimited power of magic, I pro¬ 
ceeded to prove my assertions. I placed the organ 
pipes in a row, exactly as they stand before you to-day, 
and with your permission I will repeat the phenomenon, 
just as I exhibited it to the passengers on board that 
ship. 

“Your silent attention shows the interest you take in 
the experiment. Just such a silence prevailed that day 
on board, and even now I can see in my mind’s eye that 
old organ-builder; how he gazed, open-mouthed and 


538 Later Magic 

lost in wonder, at the marvels which took place before 
his eyes. 

“ In the first place, ladies and gentlemen, allow me to 
show you these pipes, one by one, in order to satisfy you 
that nothing can be concealed in them, and further that 
there is not the slightest preparation about them. I 
have purposely placed them upon a sheet of glass, so 
that you may be assured that nothing is introduced 
into them from below. That I put nothing into them 
from above you will be able to see for yourselves.” 

[During the foregoing harangue the performer has 
passed each tube through the next larger and shown 
the latter empty.] 

“And nevertheless, I am able to produce from these 
tubes, which you have one and all seen to be empty, an 
unlimited number of any conceivable articles, of which 
in point of fact there are thousands in these tubes, 
though you are not able to see them. 

“The quantity of provisions in these tubes is such 
that it would feed a whole army for years to come. 
But we needn’t trouble about the future; just now we 
are only concerned with the present. May I ask one 
or two of you to step this way, and sample the contents 
of my magic tubes.” 

THE JAR OF WATER AND HAT. 

Tricks, up to the stage standard, which can be safely 
exhibited in the very midst of a circle of inquisitive 
spectators, are very rare. Of this class the following 
is a capital example. The credit of this very artistic 
combination belongs to Mr. David Devant, though, like 
most of his best things, it has been imitated without 
acknowledgment in a good many quarters. I am 


Later Magic 539 

pleased to be in a position to give the absolutely 
correct version. 

The requirements for the trick are: 

1. A tall hat. This may either be borrowed, or be 
the performer’s own property (the patter being ar¬ 
ranged accordingly.) 

2. A good-sized silk handkerchief. 

3. An ordinary plate. 

4. A glass jar, of pint size, but special pattern, being 
absolutely cylindrical and perfectly plain, as a in 
Fig. 217. 

5. A glass cylinder, open at each end, and fitting 
easily over the jar, as b in the same figure. 

N. B.—The height of the jar should be five inches, 
and its outside diameter, for a performer with hands of 
average size, three and one eighth inches. The cylin¬ 
der should be of the same height, and its outside 
diameter three and three eighths inches. 

6. A jug or decanter of water. 

7. Two flat bags, of stiffish whitey-brown paper, such 
as grocers pack tea or sugar in. These should be about 
seven inches in height, and in width large enough to 
go easily over the glass cylinder. One of these bags is 
at starting laid flat under the plate, and the other on 
the top of the glass. 

At the outset of the trick the glass, within the cylin¬ 
der, is placed upon the plate. The performer must by 
practice acquire facility in picking up both together; 
either by nipping them simultaneously by their upper 
edges, or by tilting them slightly, grasping the cylinder 
round the lower edge and supporting the glass within it 
by inserting the little finger beneath them. 

Mr. Devant’s introductory patter runs to something 


540 


Later Magic 


like the following effect. It is assumed that the per¬ 
former is using his own hat. 

“ In my next experiment I use that most respectable 
article, a top hat. Would you mind seeing that it is 
empty, sir. Nothing in it, is there? No, there never 
has been much—I always wear it myself. 

“The apparatus I am going to use is very simple. 
For instance, this handkerchief; funny shape, is n’t it? 
—got the border all round the edge. I am going to 
have one made with the border in the middle, but I 
have n’t got it yet. I also use an ordinary grocer’s bag, 



the regular sand-bag—sugar-bag, I mean; and a glass 
jar and a plate. You can see through this jar. It 
isn’t one of those nasty family jars that you can’t see 
through—in fact nobody wants to see at all. 

“Now I fill this jar with water’’ (he fills it to within 
half an inch of the brim), “ ordinary wet water; you 
know tricks with water are very difficult. I only knew 
one man who did a really good trick with water, and 
he had a lot of practice. He did it every day. He was 
a milkman. 

“First I cover the jar with this paper bag; then I 
take it and put it in this empty hat.” [He lifts it by 
nipping the upper edge of glass and cylinder together 







54i 


Later Magic 

through the paper.] “ You know there are only two 
kinds of men that will lend a hat to a conjurer; one is 
the man who never lent a hat to a conjurer before, and 
the other is the man who is going to buy a new one any¬ 
how, so he doesn’t mind what happens to it. Now I 
am going to make that water rise up and overflow the 
hat. Perhaps I may produce a few ducks and geese as 
well. Of course, that sort of thing does spoil the hat a 
bit. But I had forgotten; this is my own hat. That’s 
different; I think I will do the trick another way. I 
will get some one to hold the glass instead. Perhaps a 
lady will oblige me by holding it for a second or two. 
Madam, will you hold the plate with both hands. It’s 
rather heavy. Good gracious, it’s gone! ” 

When the performer announces hi? pretended de¬ 
termination to do the trick “ another way,” he lifts out 
the paper bag, containing ostensibly the glass jar as be¬ 
fore, and replaces it on the plate. As a matter of fact, 
however, he now nips the paper bag alone, and it is this 
only which is placed upon the plate, though it retains 
enough of the circular form to suggest that the jar is 
still in it, and, strange to say, the audience distinctly 
hear a “click” as the bag comes in contact with the 
plate. The secret of this very artistic touch is as fol¬ 
lows : During the previous patter the performer has got 
from his vest-pocket and finger-palmed between the 
first and second fingers, a penny. When the plate is 
taken in the left hand, the projecting edge of the coin 
is pressed hard against its underside. At the moment 
when the bag is placed on the plate,the intervening fore¬ 
finger is smartly withdrawn, and the penny strikes the 
bottom of the plate, with the result above mentioned. 

At the moment when the lady is about to take the 


542 


Later Magic 


plate, the performer gives a sudden jerk, and sends the 
empty bag flying over her head among the spectators. 
He continues: 

“ I am really very sorry, madam. I did n’t mean it 
to do that. But I know what has happened. The 
glass has gone back to the hat. It does that to annoy 
me and give me exercise. Yes, here it is.” 

He lifts out the glass and cylinder together by their 
upper edges, and replaces them on the plate. Then, 
taking the second bag from underneath the plate, he 
opens it out, and continues: 

“In case every one did n’t quite follow that move¬ 
ment, I ’ll do it again. In fact I ’ll repeat it. When I 
do a thing twice I always repeat it.. I find it’s the best 
way. You will remember that I filled the jar with 
water, and then covered it with this paper bag, just as I 
do now ” (he suits the action to the words); “ then I took 
it and put it in this empty hat, just as I am doing now; 
then suddenly remembering that it was my own hat I 
took it out again and put it upon the plate, just as I do 
now.” [Here he takes out the paper bag as before, but 
with the cylinder inside it, and as he puts it down raps 
with it lightly on the edge of the plate, which is held 
balanced on the finger-tips, to prove that the glass is 
actually there.] “ Now a glass of water is a most diffi¬ 
cult thing to drink—to manipulate, I mean.” 

Lifting the bag and cylinder together he, with the left 
hand, lays the plate over the mouth of the hat. This 
hand is then placed under the glass, which is still held 
in the right. He then, in a casual way, raises the paper 
bag an inch or so, letting the spectators see that the 
cylinder,—or, as they imagine, the glass jar—is still 
there, resting on his hand. With the right hand he 


Later Magic 543 

picks up the handkerchief, which he had, after exhibit¬ 
ing it, laid over the bend of the left arm. 

“ In case everyone does not see it plainly, I will cover 
it with this handkerchief; you will see it better that 
way. It makes it look larger, and gives it colour. Now 
I want a boy to help me. Just an ordinary boy. I 
don’t want a boy over fifty. I want a boy to hold this 
glass as a lady did a moment ago.” [We will suppose 
that a volunteer presents himself.] “Thank you! 
Now, before we go any further, will you put your 
hand underneath the handkerchief, and tell the audi¬ 
ence whether the glass of water is still really there.” 
[The boy is allowed to put up his hand, and to feel the 
side of the cylinder.] “ It is there? Good. Now may I 
ask if you have a steady hand ? You don ’t know ? But 
you ought to know, you know; you look very young, 
young enough to know everything. Do you mind going 
to the front? I know you won’t if you ’re a British boy. 
Well, come to the back of the front. Now, take hold 
of the top of the handkerchief with one finger and 
thumb—you will find a finger and thumb on one of 
your hands;—now put your other hand underneath and 
take hold of the glass again. Now hold tight! Look! 
Go!” [The handkerchief is shaken out, and the paper 
bag falls, empty.] “ Where is it? It can’t be sewn up 
in the comers of the handkerchief, can it ? Now can you 
guess where it has gone? You don’t think I have con¬ 
cealed it about me, do you ? because you can examine 
my clothing, if you wish. All my pockets are quite 
empty—as usual. No, it is n’t here, nor here. I be¬ 
lieve he thinks I ’m guilty—of drinking it, or something 
equally dreadful. No, sir! It has gone back to the hat, 
as before. Come and see—is it there? Yes, of course. 


544 


Later Magic 


Well, that’s exactly how it’s done, see? I ’d better 
take it out; I might get water on the brain, might n’t I ? ” 

During all this patter, as may be supposed, the per¬ 
former has not been idle. As soon as the left hand is cov¬ 
ered by the handkerchief, he unfastens the cuff on that 
side; and during the “ talkee-talkee ” as to a steady 
hand, he gradually lowers the glass cylinder down over 
the hand, and on to the bare arm. When he tells the 
boy to stand “at the back of the front,” he motions 
him back with this same arm, leaving the paper bag, 
covered by the handkerchief, in the right. The re¬ 
mainder of the trick explains itself. 

Mr. Devant now and then introduces an ingenious 
little piece of business, which may be worked in either 
at the first, or second stage of the trick, and consider¬ 
ably enhances its effect; namely, the spilling of a little 
water from the supposed glass after it has been removed 
from the hat. To produce this effect, the performer in 
taking the paper bag (or the bag and cylinder together 
as the case may be) out of the hat, presses the thumb 
down so as to break the paper slightly, and at the same 
time to depress a small portion of it below the level of 
the water. If he has managed matters satisfactorily, 
there will be a little pool of water resting in a hollow 
on the bottom of the inverted bag, and this is judici¬ 
ously spilt at an opportune moment, convincing the 
most sceptical that the jar of water is, up to that time, 
still inside the bag. 

THE BAG OF MYSTERY. 

This very effective trick is another of the specialities 
of Mr. David Devant. It is one in which a clumsy per- 


Later Magic 


545 


former would “give himself away” half a dozen times: 
over, but worked in the finished style of Mr. Devant, 
and with the quaint, crisp patter with which he presents 
it (and the essential part of which I propose here to re¬ 
produce) it never fails to score handsomely. 

The requirements for its exhibition are as under: 
i. The “ bag,” from which the trick derives its name. 


Fig. 218. 



Ifi point of appearance nothing could be less “mysteri¬ 
ous” ; for it is merely a plain ordinary bag of whitey- 
brown paper fifteen inches square; the sort of thing a 
milliner would use to send home a lady’s sailor hat in. 

2. An expanding bird-cage, of a kind not unfamiliar 
to conjurers; one of similar construction being fre¬ 
quently used in connection with hat tricks. The cage, 
when expanded to its full extent, is as depicted in Fig. 
218, standing nearly twelve inches high. In plan it is 






































54-6 


Later Magic 


oval, measuring six and one half by five and one half 
inches, exclusive of the seed- and water-containers. 
These revolve on their own axes. By giving them a 
half-turn, and thereby bringing them inside the cage, 
the performer is enabled to lower the upper half, tele- 
scope-fashion, into the lower. The four feet, which 
are mere flat pieces of tin, fold down on spring hinges 
against the bottom, but fly up again to an erect position 
the moment they are permitted to do so. The ring at 
the top, which is merely attached to the cage by a wire 
on each side, normally lies flat on the top, and in this 
condition the net height of the cage is seven inches 
only. If lifted by the ring, however, the upper portion 
is drawn out of the lower, the seed- and water-contain¬ 
ers each make a half-turn, under compulsion of a 
spiral spring, to the outside (thereby preventing the 
upper portion from sinking down again); the feet rise 
up to a perpendicular position, and the cage assumes its 
full dimensions. In the top, immediately under the 
lifting ring, is a little oval receptacle; a sort of patty¬ 
pan, three inches long and three quarters of an inch 
deep, with a hinged lid, for a purpose which will pre¬ 
sently appear. Just below this is a circular opening in 
the wirework, a trifle over an inch in diameter. This is 
designed to accommodate the finger in the act of load¬ 
ing the cage, at the proper moment, into the bag. 

3. Two glass tumblers; a fork (silver or otherwise), 
and a plate. 

4. A raw egg. 

5. A wedding-ring and keeper. These are placed at 
the outset on a folded piece of tissue paper (to prevent 
rattling) inside the little receptacle at the top of the 
cage. 

35 


547 


Later Magic 


6. A “nest” of three envelopes, all closed. In the 
innermost of these is a duplicate wedding-ring and 
keeper. The outermost is sealed with red sealing-wax, 
not in the ordinary way, but along each of its front 



Fig. 219. 


edges, as in Fig. 219, so as to leave absolutely no 
opening. 1 

Across the back (see Fig. 220) is a paper band a a, 
pasted down at each end. Under this is passed a piece 
of blue silk garter elastic, b b , sewn at the point c , so as 
to form an circular band or loop. One end, however, is 


a 



Fig. 220. 


continued for four or five inches beyond this point, 
terminating in a swivel-hook, d. This at a short dis¬ 
tance looks like ordinary ribbon. 

1 The easiest and neatest way of doing this is to melt the sealing- 
wax in methylated spirits, to the consistency of thick cream, and 
apply it with a brush. It will harden in the course of a few hours. 






548 


Later Magic 


7. An envelope corresponding with the smallest of 
those forming the “nest,” and having its flap gummed 
down with the exception of a space of about an inch 
and a half, into which is inserted one end of a flat tin 
tube, large enough to allow the free passage of a lady’s 
ring. The envelope, thus prepared, and folded in half, 
is placed just within the breast of the performer’s vest, 
on the left side. 

The arrangement of the stage is, in effect, as shown 
in Fig. 221, the centre table being flanked on the one 
side by a chair, (with cloth or solid back) and on the 



Fig. 221. 


other by a small round table. At the back of the 
chair, in the top rail, is fixed a hook. 

The cage is prepared for use by placing a canary bird 
in it, turning in the seed and water-containers, and 
letting the upper portion slide down into the lower. 
The cage is then turned upside down, its four feet are 
folded flat, and kept in that position by laying the nest 
of envelopes upon them. The elastic band (6 b in Fig. 
220) is drawn over the top of the cage, holding all 
securely together, and the swivel, d , is hooked into one 
of the upper wires of the cage. The cage is then 
turned right side up again, and suspended, by the ring 
at top, from the hook behind the chair. The plate, 






Later Magic 549 

with the two glasses and fork, is placed on the centre 
table or anywhere handy. 

The performer, having the egg palmed in his right 
hand, and holding the bag in the same hand, begins as 
follows: 

“Ladies and gentlemen, for my next experiment I 
should like a gentleman to assist me by coming upon 
the stage to act as a sort of committee of one. I must 
ask for a responsible sort of man; an experienced man, 
say a married man. I don’t want to make a fool of any 
one; one is enough on this small stage. I simply want 
some one to examine one or two articles that I shall use. 

“Do you mind standing here, sir, or will you sit 
down?” [The person volunteering, whom I shall here¬ 
after refer to as “the assistant,” is seated on the chair 
behind which is the cage.] “ The first thing I want you 
to look at is this empty paper bag. Examine it well. 
Do you find it totally unprepared? Thanks. Now 
will you hold your right hand in front of you, so. I am 
going to cover it for a moment or two with this empty 
paper bag, and I will try to produce something in your 
empty hand. All I will ask you is to hold your hand 
under cover of the bag, and wish for anything you want. 
Something reasonable, you know T ; of course you 
must n’t wish for a baby or a steam yacht. Anyhow, 
whatever you find in your hand, don’t drop it on the 
floor. I am only going to cover this gentleman’s hand 
so that his left hand shall not know what his right hand 
is up to. Now, sir, close your fingers gently over.” 
[The bag is withdrawn.] “ Look! Now open your hand. 
Well, that is a curious thing to wish for. An egg! Do 
you believe this is a real one ? Small ? Yes, it is rather 
small; you should have wished for a bigger one. Per- 


550 


Later Magic 


haps the hen that laid it was only learning. However, 
we will break it, and see whether it is real or not. Will 
you hold this a moment ” (handing him the plate, with 
glass and fork, and then breaking the egg into the 
glass). ‘ ‘ Oh, yes ’ ’ (smelling it), “ it is real. Extremely 

real. Would you mind holding this” (handing glass 
and fork, and taking away plate and shells); I ’d rather 
you held it.” 

It will now be well to explain the working of the 
trick up to this point. When the bag has been ex¬ 
amined, the performer, in taking it back, grasps it by 
one corner of the opening with the left hand. He opens 
out the bag with the right hand, and under cover of so 
doing deposits the palmed egg in one of its bottom 
comers. He then grasps the bag, with the left hand, 
by that same comer, thereby securing the egg. He 
takes up his position on the left side of his volunteer 
assistant, and in covering the hand of the latter with 
the bag, he brings the corner containing the egg just 
over it. The assistant, realizing that something is 
offered him, naturally takes it into his hand, which he 
is then asked to close. The performer then removes 
the bag and asks him to open his hand. 1 While all eyes 
are thus drawn to the egg, the performer with his right 
hand unhooks the cage from behind the chair, and 
loads it into the bag, which is then laid on its side on 
the table. It is hardly necessary to remark that this is 
a somewhat difficult load, but, in Mr. Devant’s hands, 
the introduction of the cage is quite imperceptible. 

1 As the spectators are not aware that the egg was really placed in 
the assistant’s hand before he was asked to close it, the impression on 
their minds is that he wished for an egg, which was accordingly 
passed into his closed hand. 


Later Magic 


55 T 


The performer continues as follows: “Now I want 
something to put in this bag to keep it upright upon the 
table. Any little thing will do. Perhaps, sir, you can 
lend me a pair of gloves, or a handkerchief. Thanks, 
I’ll take both. I am only going to use them as a sort 
of paper-weight. Meanwhile, will you enjoy yourself 
by beating up the egg ? I can see that you ’re married; 
you do it so nicely. Don’t drop it on your trousers, or 
you will get into trouble at home.” 

During the last few sentences the performer turns the 
bag up on end, drops the pair of gloves and handker¬ 
chief into it, and under pretence of arranging them, 
slips the elastic band off the cage (to which however it 
remains attached by means of the swivel), opens the 
little dish at top and takes out the two rings on the tip 
of the middle finger, which he bends so as to keep them 
concealed. 

“Now, will any lady lend me a couple of wedding- 
rings. I should say one wedding ring and a kipper— 
keeper I mean; or a couple of small dress rings will do, 
engagement-rings for instance; they come off easier, 
don’t they? Thanks, madam. I will get you to 
place them on the tip of my finger, so that they never 
leave your sight for a single instant. Keep your eye on 
them,please. I am going to hand them to this gentleman. 
Will you kindly pull these rings off my finger, sir.” 

During the transit from the lender to his assistant he 
folds down the forefinger and extends the middle 
finger, as described at page 189. It is, therefore, the 
substitutes which the gentleman receives. 

“ Do you know the best way to clean rings, sir? The 
very best way is to drop them into beaten egg. Madam, 
would you like your rings cleaned? Yes, of course, you 


552 


Later Magic 


would. Then drop them in, sir. You will understand, 
madam, that I am responsible for your rings, but this 
gentleman will pay for them in case of damage. Stir 
away, sir, these are stirring times. I think you have a 
little too much egg there; allow me to take a little of it 
away.” [He pours out a portion into the second glass. 1 ] 
“ Please see that I have n’t taken the rings away. No! 
they are still there. Now I intend to pour the rings, 
which have never left your sight, madam, since I bor¬ 
rowed them, with the egg that covers them, into this 
paper bag. You are enjoying it, sir, are n’t you? I 
always try to pour the egg on the handkerchief because 
it washes more easily. Dear, dear, it has all gone on 
the gloves, but never mind! Now I screw the top 
of the bag together, and pass this stick (the wand) 
through the paper, and I will ask you to hold the 
stick, sir, by each end.” 

Taking advantage of the fact that during a portion of 
this patter his back is naturally turned to the spectators, 
the performer slips the borrowed rings inside his vest 
and down the tube into the hidden envelope, from which 
he then withdraws the tube. When he has poured the 
egg with the dummy rings into the little receptacle at 
the top of the cage, and, gathering up the paper round it, 
forces the wand through the paper, he takes care that 
this shall also pass through the ring at top, so that not 
only the bag, but the cage, is suspended from it. He 
proceeds: 

“Now I intend to hatch the egg. Look! Change!” 
He grasps the bag at bottom, and pulls it away with a 
downward jerk; the cage, now expanded to its full 

1 This is done to reduce the egg to such a quantity as can be com¬ 
pletely accommodated in the little receptacle at the top of the cage. 


Later Magic 


553 


height, remaining suspended from the wand, with the 
sealed envelope hanging from it. “The hen that laid 
that egg was evidently a canary; but it must have been 
a strong, wiry sort of bird, for it has hatched a cage as 
well as the egg. I see here, attached to the cage by a 
ribbon, is a sealed envelope. Will you please tear it off 
the ribbon, sir.” This done, the performer places the 
cage (carrying it in the left hand) on the centre table, 
and while his back is turned for this purpose palms, in 
the right hand, the folded envelope from vest. The 
bag is left on the small round table. He then says to 
the gentleman who has been helping him, “Will you 
please tell us whether you think it possible to get the 
contents of that envelope out without tearing it or 
breaking the seals ? You are quite sure it is n’t ? Very 
well, will you open it in the ordinary way and tell us what 
you find. A second envelope, also sealed? Will you 
please examine that just as carefully as you did the first. * ’ 

To facilitate his doing so the performer, with the left 
hand, takes back the outside envelope, and transfers it, 
sealed side upwards, to the right hand, in which is con¬ 
cealed, folded in half, the envelope which really con¬ 
tains the borrowed rings. This he secretly opens out 
flat again under cover of the larger envelope, what 
would be the “address” side next the palm. He then 
returns both to the left hand. 

“ Now, sir, if you open that second envelope, I think 
you will find a third.” (This is done.) “Please ex¬ 
amine that also. You need n’t open it” (he takes it 
back, and lays it, address side upwards, on the larger 
one in the left hand). “I shall ask the lady who so 
kindly lent me the rings to open this one herself, and 
see that her rings are actually in this sealed envelope. 


554 


Later Magic 


Meanwhile ” (picking up the paper bag and offering it), 
“ here, sir, are your handkerchief and gloves uninjured. 
And here, madam, is the envelope containing your 
rings. They are your own, are they not? I think, 
ladies and gentlemen, you will all admit that this is 
really a Bag of Mystery.” 

The final “change” is one of the prettiest things in 
the trick. When the performer offers the gloves and 
handkerchief the paper bag for a moment passes 
in front of his left hand. During that moment the 
hand is turned over, thereby bringing the envelope just 
examined underneath, and the one containing the bor¬ 
rowed rings uppermost. The keenest eye cannot per¬ 
ceive the change, nor is the most acute spectator likely 
to suspect it. 


NEW 

MISCELLANEOUS TRICKS 


RECOLLECTIONS OF 
HARTZ THE WIZARD 






CHAPTER XIII. 

NEW MISCELLANEOUS TRICKS. 


THE RICE AND WATER TRICK. 



‘HERE are several versions of this trick. It is 


1 popularly known by the name of the Chinese Rice 
Bowls; but this is a somewhat incorrect description. 
The trick in its original form is a speciality of the 
Indian conjurers, or, rather, of some of them; for 
Indian magic takes various shapes, according to tribe 
and locality. 

An excellent account of the trick in its Oriental form, 
or only so far modified as to meet Western conditions of 
performance, was contributed by Herr Carl Willmann 
to the now defunct German serial, Die Zauberwelt , 1 
and I cannot do better than quote, in effect, his 
description. 

The bowls used by the Indian conjurers are of thin 
brass (such as is used by the metal workers of Benares) 
and of the shape shown in section in Fig. 222. That 
which is marked No. 1 in the diagram is a plain, 
ordinary bowl; but the other, No. 2, is of a less simple 
character. Its depth, internally, represents only one- 
third of the total space, which is divided by a false 
bottom, shown by the dotted line, into two compart¬ 
ments ; the upper, a, being of about half the capacity of 


1 Die Zauberwelt , vol. vii., p. 25. 

557 


New Miscellaneous Tricks 


558 


the lower, b. At the points c and d are minute holes. 
The mouth of bowl No. 1 is a shade larger than that 
of No. 2, so that when turned mouth to mouth the one 



d 


Fig. 222. 


shall slightly overlap the other, thereby preventing the 
liability to slip sideways, which would arise if both 
were of exactly the same size. 

In preparing for the trick, bowl No. 2 is immersed 
in a larger vessel of water until the compartment b 
has completely filled itself, the test of this being that 
air-bubbles cease to appear at the surface of the water. 
Before taking it out of the larger vessel, the operator 
closes the hole c by pressing a finger upon it. He then 
takes the bowl out, holding it upside down, dries it 
inside and out with a cloth, and plugs the hole d with 
a pellet of soft wax. The finger may then be removed 
from c. If the bowl is properly filled, and the hole d 
duly plugged, there will be no escape of water, even 
though it remain inverted. 

These preparations having been made beforehand, 
the performer comes forward with the two bowls on 
a tray. Both are turned upside down, the one above 
the other: No. 1 uppermost, as shown in Fig. 223. 
Putting down the tray he takes the bowls, one in each 
hand, and clashes them together, mouth to mouth, after 







New Miscellaneous Tricks 


559 


the manner of a pair of cymbals, and producing the 
corresponding vibratory sound, though, as a matter of 
fact, this is wholly produced by bowl No. I, the liquid 
contents of No. 2 keeping that bowl practically silent. 
The spectators, seeing the bowls so freely handled, are 
perforce persuaded that they are empty; the more so 
that the performer, in the course of his manipulations, 
allows them a momentary glimpse of the interior of 



each. He may even, in a casual way, hand No. 1 for 
examination, meanwhile leaving No. 2 turned mouth 
downward on the table or tray. 

Replacing No. 1, mouth upwards, on the tray, he 
proceeds to fill it with rice. He levels the surface 
with his wand, or any other convenient instrument, 
and pours back any surplus rice from the tray into 
the receptacle whence it was taken. He then turns 
bowl No. 2 over No. 1, mouth to mouth, and brings 
them forward between his hands, lifting No. 2 for a 
moment as he approaches the spectators, that they may 
see for themselves that No. 1 is quite full of rice. 
Again bringing the two bowls mouth to mouth, he 







560 


New Miscellaneous Tricks 


returns to his table, and in the moment during which 
they are screened by his own body, reverses them so 
as to bring No. i uppermost, and places them thus 
reversed on the tray. With a wave of his wand he 
commands the rice to increase and multiply; and a 
moment later lifts the upper bowl and shows that it 
has done so, for the internal capacity of No. 2 (which 
is now undermost) being only about one-third that of 
No. i, the rice naturally overflows, the effect to the 
spectator being that it has largely increased in quantity. 
The performer again levels it with his wand, letting 
the surplus rice fall on the tray. 

Again he comes forward, holding in one hand No. I, 
empty, and in the other No. 2, full of rice. In view 
of all he inverts No. I, and covers No. 2 with it. In 
returning to his table he once more reverses them, 
bringing No. 2 uppermost, and places them in that 
position on the tray. This done, he secretly removes 
the wax pellet from the airhole d , whereupon the water 
begins to flow through the hole c into the lower bowl 
(No. i). After allowing a sufficient interval, duly 
occupied by patter, for the water to pass from the 
one vessel into the other, he lifts No. 2, and shows, 
apparently, that the rice has now changed into water; 
for the former being of the greater specific gravity 
sinks to the bottom, while the two together just fill 
the bowl. As a proof of the genuineness of the trans¬ 
formation, he pours a portion of the water from No. i 
into No. 2, and back again. Again he pours from 
No. i into No. 2, and this time purposely causes the 
water to overflow. This is easily managed, there being 
just twice as much of the fluid as would suffice to fill 
the shallow upper cavity of No. 2. “Dear me!” he 


New Miscellaneous Tricks 561 

says, * 4 this is rather awkward. I certainly ordered the 
rice to increase and multiply, but I did n’t intend the 
command to apply to the water also. That’s the worst 
of Magic. When you once set these abnormal powers 
in motion, you never quite know how far they will go. 
I must stop this, and pretty quick too, or we shall 
have an inundation.’ ’ So saying, he places No. 1 upon 
the table, waves his wand over both bowls, and says, 
in commanding tones, “Stop!” 

But the command is ineffectual. On his again pour¬ 
ing water from No. 1 into No. 2, it overflows rather 
more freely than before; and the performer explains 
that so long as a single drop of water remains in either 
of the bowls, the charm will probably continue to 
work. He accordingly pours the mixed rice and water 
(professedly water only) into some larger receptacle. 
Taking a cloth, he wipes each bowl dry, inside and 
out. He then inverts them, one upon the other, on 
the tray as before, and carries them off, or has them 
carried off by his assistant. 

Herr Willmann suggests, as an effective combination, 
that the water which appears in the bowls be made 
just previously to disappear from a glass decanter, 
placed upon a cigar-box duly adapted to receive the 
fluid, and the vanished rice found elsewhere. This 
would be very easily managed, but the trick is so com¬ 
plete in itself, embodying as it does three successive 
surprises, that I am inclined to think it would lose, 
rather than gain, by the addition. 

The next version of the trick may be dismissed in 
a very few words, being but a very poor imitation of 
the original. It was presumably devised by some 
one who had never handled the genuine bowls; but, 
36 


562 New Miscellaneous Tricks 

knowing the trick by hearsay (possibly from “ travel¬ 
lers’ tales”), reinvented it for himself, after a make¬ 
shift fashion. 

The bowls, which for distinction’s sake we will in 
this case call Nos. 3 and 4 (Fig. 224), are of earthenware, 


N0.3 



Fig. 224. 

and in size and shape not unlike the slop-basin of 
the family breakfast-table. No. 3 is unprepared, but 
over the mouth of No. 4, or rather, just within it, is 
cemented a tin plate, with a small hole, in its centre, 
and there is a similar hole in the bottom of the bowl. 
To the upper side of the tin plate a coating of grains 
of rice is cemented. The two bowls are, as in the 
original version, brought in on a tray, upside down, 
No. 4 having been beforehand filled with water, and 
the hole in the bottom of the bowl duly plugged. 
The performer shows the inside of No. 3 only. He fills 
this from a paper bag, covers it with No. 4 (inverted), 
and turns them over. When No. 3, which is thus 
brought uppermost, is removed, the rice lies heaped on 
the flat top of No. 4. The performer levels it with his 
wand; thereby sweeping off all save the small amount 
cemented to the upper surface of the tin plate, which, 
however, gives the bowl the appearance of being still 
full. A repetition of the “turn-over” process and the 







New Miscellaneous Tricks 


5^3 


removal of the plug from the second hole causes the 
rice to disappear, and the now lower bowl (No. 4) to 
be found filled with water in its place. 

The experienced reader will doubtless have “spotted ” 
the weak point in this version, namely, that not even 
a glimpse of the (supposed) concave side of bowl No. 4 
can be allowed at any stage of the trick. A well-known 
American performer, the late Professor Balabrega, met 
this difficulty in a very ingenious way. He began by 
exhibiting two unprepared bowls, and after showing 
unmistakably that they were innocent of mechanical 
contrivance, placed them mouth to mouth, but in so 
doing introduced a palmed lemon between them. Then 
exhibiting another lemon, he ordered it to pass within. 
Lifting off the upper basin with the right hand, he 
with the left took out of the lower and exhibited the 
lemon he had just previously introduced. Meanwhile, 
the right hand, still holding the upper bowl inverted, 
lowered it for a moment to the servante and there 
exchanged it for the trick bowl. 

In a later and better version (the one now generally 
exhibited) the trick is performed with unprepared 
bowls; or, rather, bowls prepared in such a way that 
no trace of preparation is left at the close of the trick. 
The material of the bowls is in this case what is known 
as “opal” glass, i. e ., glass which is milk-white and 
semi-opaque. Their rims are ground perfectly flat so 
as to fit exactly, the one upon the other. They should 
each be made with a foot, of the same shape in fact as 
the bowls depicted in Fig. 224; the projecting rim at the 
base enabling them to be handled more conveniently. 
With them is used a disc of clear glass, usually edged 
round with white enamel to make it match the better 


564 New Miscellaneous Tricks 

with the bowls, and of such a size as to exactly cover 
the bowl. 

To prepare for the trick, one of the bowls is filled 
to the brim with water, and the brim itself moistened, 
after which the glass disc is laid upon it. The bowl 
may now be inverted without any fear of the water 
escaping, the glass plate being kept in position by 
atmospheric pressure. This bowl we will call No. 6, 
and the unprepared one No. 5. Both are turned 
upside down, and the two brought in, side by side, 
on the usual tray. 

Picking up bowl No. 5, the performer shows that it 
is empty. He then fills it with rice, usually from a 
paper bag, and covers it with No. 6; then bringing 
forward the two together, he places them on the 
tray, working the “turn-over” as already described. 
When the uppermost bowl is removed, there is the 
usual overflow of rice, the previous contents of No. 5 
now lying on the surface of the glass plate. These are 
swept off, the empty bowl being used for this purpose, 
and No. 5 is replaced on No. 6; but this time there 
is no turn-over. At this point the performer, taking 
a glass tumbler, fills it with water and “vanishes” 
it by any of the familiar methods, at the same time 
commanding the water to pass into the covered bowl. 

After a little more patter, No. 5 is lifted off, and 
with it the glass plate. These are laid upon the table, 
after which the bowl is restored to its normal position, 
and the performer brings it and the other bowl forward, 
one in each hand—No. 5 empty, No. 6 full of water. 
As a finish he pours the water (professedly that just 
before made to disappear) from bowl to bowl, but in 
this case without any increase of its quantity. 


New Miscellaneous Tricks 565 

It may here be mentioned that if the bowls are not 
too large (about six inches in diameter by three in 
depth will be found a convenient size), they may be 
held together between the fingers and thumbs of the 
two hands, and waved up and down, professedly to 
assist the transformation in progress, and under cover 
of this movement they may be reversed without diffi¬ 
culty, even under the very noses of the spectators. 

The glass plate is now usually made with a small lug 
at one point of its circumference. This in use is kept 
to the rear. When, after the rice has been exhibited, 
the performer again covers it with the empty bowl in 
order to level it (really sweeping it off altogether), he 
nips this lug between finger and thumb, and draws off 
bowl and plate together, laying them upon the table or 
tray. A moment later he lifts the inverted bowl and 
places it once more upon the lower bowl, before pro¬ 
ceeding to show that the rice is transformed into water. 
The plate, meanwhile, is completely hidden by the 
superincumbent rice. 

For a minor improvement in the appliances used, 
conjurers are indebted to Mr. C. O. Williams of Cardiff. 
Instead of having the plate made of clear glass with an 
enamelled edge (which is very apt to chip), he has it 
of opal glass, like the bowls themselves. Bowls thus 
fitted may be had of Messrs. Ornum, to whom Mr. 
Williams presented the idea. 

All these modern versions, however, seem to me 
to fall short of the Indian original, the apparent in¬ 
crease of the water being, to my own mind, the most 
surprising feature of the trick. The only weak point 
in it is the necessity of using a bowl which obviously 
will not bear close inspection. This, however, is a 


566 New Miscellaneous Tricks 

minor matter. Even in the case of a drawing-room 
show, in which the apparatus used by the performer is 
most exposed to inconvenient scrutiny, if the trick 
has been preceded by one or two others in which the 
appliances used have been left in the way of examina¬ 
tion (which, by the way, is much better than offering 
them for that purpose), no one is at all likely to question 
the unpreparedness of the bowls. If, however, the 
performer feels any anxiety on this score it is perfectly 
open to him to start with two actually unprepared 
bowls, using the expedient of Professor Balabrega 
to change one of them, at the right moment, for the 
trick bowl. I should, however, be inclined to substitute 
for the lemon a ball of red rubber, with a hole in it, 
loaded into the bowl from the tip of the right thumb. 
The ball might rest till needed hole outwards, in the 
vest pocket, or just within the opening of the vest. 

The Indian bowls may be had of Herr Willmann, 
and therefore, I should imagine, also through English 
dealers. The cost of the pair (the plain and faked bowl) 
is about twenty-five shillings. The addition of a second 
plain bowl (if the above suggestion be adopted) would 
naturally involve a proportionate increase of price, 
but it would be well worth the small extra outlay. 

THE VANISHING RICE. 

This is a trick of Japanese origin. It is too quickly 
over to be worth independent exhibition, but it works 
in very effectively either as an introduction or an ad¬ 
dition to the trick last described, or to any other in 
which rice plays a part. 

In effect it is as follows: The performer, first 


New Miscellaneous Tricks 567 

drawing up his sleeves, takes a handful of the rice 
and pours it two or three times from hand to hand. 
Presently he brings the hands together, palm to palm, 
and rubs them gently one against the other. When 
they are again separated, the rice has vanished. Once 
more the hands are brought together, gently rubbed, 
and the right hand closed. A plate or a sheet of paper 
is held underneath, when the missing rice pours from 
the hand upon it. 

The secret lies in the use of a little bag, about one 
and three-quarter inches square, preferably of flesh- 
coloured silk, and closed at the mouth (after the 
fashion of the bag used for producing sweets from a 
handkerchief) with a couple of pieces of clock-spring 
or whalebone, in such manner that the mouth is 
normally kept shut, but is forced open when pressure 
is applied to the opposite ends of the springs. This 
is suspended, by a gut loop, round the forefinger of 
the right hand, so as to hang, mouth upwards, mid¬ 
way between the first and fourth fingers. The loop 
should be attached to the bag at the centre of the 
mouth, on the side which in use is next the palm. 

With this preliminary explanation, the working of 
the trick will be almost self-evident. The bag being 
duly looped over the finger, the performer takes up 
with the same hand a tablespoonful or so of the rice, 
and pours it once or twice from the one hand to the 
other. At first this is done, so to speak, anyhow, so 
long as the inside of the right hand is not exposed; but 
when the rice is being poured back from the left hand 
for the second time, the right hand receives it after a 
particular manner, viz., the hand is held fistwise, thumb 
uppermost, with the fingers partially closed, the space 


568 


New Miscellaneous Tricks 


between the thumb and the curved finger forming a 
sort of cup. This position of the hand enables the per¬ 
former to exercise the needful pressure on the ends of 
the springs. The mouth of the bag opens, and it is 
into this that the rice is actually poured. The pressure 
being relaxed, the bag closes; the hands are brought 
together; the little bag is tilted over to the back of the 
right hand, and both palms are shown empty. In the 
act of again bringing the hands together, the bag 
is tilted once more into the palm, and the rice is 
reproduced as above described. 

The trick has the advantage of being very little 
known. The use of the loop to suspend the bag is 
an addition of my own, and I venture to think that 
it is a material improvement. In the original version 
the bag is merely palmed, and consequently the hands 
cannot be shown simultaneously empty. 

TAO LI TAO, THE CHINESE MYSTERY. 

What may be called the standard working of this 
startling trick is described in Messrs. Hamley’s cata¬ 
logue as follows:— 

“The performer shows round to the audience thirteen 
wooden draughtsmen. Twelve of these are yellow, and 
the remaining one black. The performer places two 
tumblers about nine inches apart, and across the top 
a piece of glass. On this he places six yellow draughts¬ 
men, then one black one, and then six more yellow, 
one on the top of the other. At the word of command 
the black draughtsman leaves the middle of the pile 
and goes to the top. Immediately the performer gives 
the men to be examined and counted by the audience. 
The trick may be varied by the black ‘man’ going 


New Miscellaneous Tricks 


569 


from the top to any other position in the pile the 
performer commands.’* (SeeFig. 225.) 

Before proceeding to explain the trick, it may be 
well to supplement the above description by stating 
that the so-called draughtsmen are of exceptional size, 
being each three inches in diameter and nearly an inch 
in depth. They are made of hard and heavy wood, so 
as to possess considerable inertia. 

The secret of the supposed transposition lies in the 



Fig. 225. 


use of two bands of extremely thin steel ribbon (scarcely 
thicker than paper), each bent into the shape of a circle, 
with the ends overlapping but not joined. Each band 
is equal in width to the depth of one draughtsman, 
and just long enough to encircle it. One of these is ena¬ 
melled black and the other yellow. To the side of 
the band farthest from the opening, in each case, is 
attached a black silk thread. This is passed through 
a screw-eye fixed in the edge of the servante; and is 
thence led away to the hands of an assistant behind 
the scenes. The bands themselves are hidden at 













570 


New Miscellaneous Tricks 


the outside behind some object or objects on the 
table. 

After the draughtsmen have been handed round for 
inspection, the performer takes them back to the table 
and begins to form his pile. In so doing he slips the 
yellow band over the black draughtsman, and the 
black band over one of the yellow ones. It is this last 
(professedly the black one just previously examined) 
which is placed in the centre of the column. On it are 
piled five more, and on top of all the black draughtsman 
disguised as a yellow one. The opening of the band 
is in each case to the front. At the word of command 
the concealed assistant gives a sharp pull upon the two 
threads. The bands are drawn off the draughtsmen 
they covered and lie on the servante, the effect to the 
eye of the spectator being that the black and yellow 
draughtsmen have changed their relative positions in 
the pile. 

To any one who has not tried the experiment, it 
seems incredible that the two bands could be jerked 
away without upsetting the column; but, as a matter 
of fact, if the pull be deftly made they slip off so cleanly 
that their removal does not create the smallest dis¬ 
turbance. For greater security in this particular, 
however, I would suggest that the draughtsmen be 

... ' 3 

Fig. 226. 

shaped with one side slightly hollowed out and the 
other shouldered to correspond, as shown in section in 
Fig. 226, the concave side of each, in forming the pile, to 
be placed downward. The draughtsmen would thus 





573 


(fay* m I - 4T71 

New Miscellaneous Tricks 

in by the performer when he first comes forward on the 
stage, and laid on, say, the seat of a chair, while he 
proceeds with his performance. At a convenient 
moment he picks it up again, expands it, and in due 
course produces the balloons. 

Other methods have been suggested for the com¬ 
bination, at the proper moment, of the two re-agents, 
but it is doubtful whether either of them is in practice 
found more effective than the plan above described. 

TO DISCOVER AND POCKET (BEFORE ASKING ANY QUES¬ 
TION) THE CARD THOUGHT OF BY A SPECTATOR. 

The above sounds like the description of an im¬ 
possible feat, but it is, notwithstanding, as our Amer¬ 
ican friends say a “cold fact,” at any rate so far as 
the effect on the spectator is concerned. The honour 
of having devised it belongs to my ingenious friend, 
Mr. C. O. Williams, before mentioned. I believe 
that I was the first person to whom he communi¬ 
cated it, and I am pleased to take this opportunity of 
giving him the credit due to his clever invention; the 
more so that it has been wrongfully claimed in other 
quarters. 

The trick is performed as follows: The performer 
asks a spectator to shuffle the pack, and having done 
so, to note any card he pleases, and the number at 
which it stands from the top. He then takes the 
pack into his own hands, and places it behind his 
back, at the same time gazing in the face of the chooser, 
as if to read his thoughts. He tells him that he is 
about to pick out the card thought of and put it in 
his pocket. This he apparently proceeds to do, but, 


574 


New Miscellaneous Tricks 


as a matter of fact, it is the bottom card which he takes, 
and (showing its back only) places it in his pocket. 
Professedly, he leaves it there; but again ‘‘things are 
not what they seem. ” When he has got it fairly within 
his pocket, he palms it, brings it out again, and places 
it secretly on the top of the pack. 

The trick being now supposedly to be done, he is 
free to ask the person who made the selection at 
what number from the top the card he thought of 
stood. The answer is, we will suppose, “Eleventh.” 
“Good!” he says. “I will show you, in the first 
place, that it is no longer there. ” So saying, he counts 
off ten cards, and, showing the eleventh, asks the 
chooser to say whether that is his card. As the num¬ 
bers have all been advanced by the card placed on 
the top, the reply is, naturally, in the negative. Mean¬ 
while, the performer palms off the next card (which is 
the original eleventh), and a moment later, plunging 
the hand into his pocket, produces it from thence, as 
being the same he had (professedly) placed there a 
few moments earlier. 

The effect of the trick, in good hands, must be seen 
to be believed. It has all the appearance of a genuine 
experiment in thought-reading, and even an expert, 
seeing it for the first time, is likely to be as much 
puzzled by it as the merest outsider. 

A NEW PURSE TRICK. 

For this item also conjurers are indebted to the 
inventive genius of Mr. Williams. 

The effect of the trick is as follows: The performer 
takes his purse (one of the “bag” description) out 


New Miscellaneous Tricks 


575 


of his pocket, and empties the money it contains upon 
the table. Borrowing a coin of good size (say a half- 
crown or five-shilling piece), duly marked by the owner, 
he places it in the inner pocket of the purse. This is 
then closed, and the purse also. The purse, after being 
two or three times carelessly tossed from hand to hand, 
is dropped into a hat. The performer declares that 
the coin has left the purse, and is now in the posses¬ 
sion of a spectator, whom he indicates. He proves his 
assertion by producing the coin from the victim’s 
pocket. The purse, on being examined, is found empty. 

For the purpose of the trick the performer must have 
two purses exactly alike. One of these he prepares by 
cutting away the stitches along the bottom, both of 
the outside and of the inner pocket. A few coins of 
any description are inserted through the opening thus 
made into the inner compartment, and the purse 
placed, bottom upwards, in the left trouser pocket. 
The other purse, empty, is placed in a pochette or 
elsewhere, so as to be instantly get-at-able. 

To show the trick, the performer takes the prepared 
purse out of his pocket, pinching its lower edge to 
prevent the escape of the coins therein. Opening the 
mouth, he pours these out upon the table; this very 
natural action insensibly impressing the spectators with 
the desired idea, that the purse is the one in ordinary 
use by the performer—a common, everyday article. 
After a coin has been borrowed and marked, he drops 
this into the inner compartment, which he closes, after 
which he likewise closes the mouth. A moment later 
the coin is allowed to slide out through the manu¬ 
factured opening into his palm, the purse lying over 
it. He then makes use of the dodge employed by the 


576 


New Miscellaneous Tricks 


purse-faker on the race-course, i. e ., throwing coin and 
purse together from hand to hand, the former under¬ 
neath and concealed by the latter. 

Presently he drops the purse (without the coin) into 
a hat, which stands in readiness on the table. As the 
coin has remained palmed in his hand, it is an easy 
matter for him to extract it from the pocket of any 
spectator he pleases, first leading up to the production 
by the assertion that the victim has already got it. 

While the coin is being identified, the performer 
has ample opportunity to get hold of, and palm, the 
unprepared purse. Dipping his hand into the hat, 
he brings out and hands for inspection, professedly, 
the purse with which he has worked the trick, but 
as a matter of fact, the one just previously palmed— 
the faked article remaining in the hat, to be removed 
at a convenient opportunity. 

A SILK HANDKERCHIEF CHANGED INTO A FLAG. 

This differs from most tricks of the same class in 
two particulars: first, that the change is practically 
instantaneous, and secondly, that no apparatus, save 
the flag and handkerchief themselves, is employed. 
The performer starts by exhibiting the handkerchief 
four-square, his hands being otherwise empty. The 
handkerchief is crushed between the hands. When 
they are again moved apart, it is seen to be trans¬ 
formed into a flag, the hands being again shown 
otherwise empty. 

The flag used is a Union Jack of very thin silk, 
measuring thirty-six inches by eighteen. In one corner 
of it is a “patch” pocket of the same material, three 


New Miscellaneous Tricks 


577 


inches square. The mouth lies along one of the narrow 
sides of the flag, and in each of its hems is a piece 
of whalebone, keeping the mouth closed, save when 
pressure is applied at the opposite ends. 

The handkerchief, which in colour matches the blue 
portion of the flag, is twenty inches by fourteen, and 
has in one corner of it a patch pocket measuring four 
and a half inches by three. The opening in this case 
is on the side opposite the outer edge, in the direction 
of the length of the handkerchief. 

The flag is prepared for the trick by being folded in 
“ accordion” pleats three inches wide, first in the 
direction of its length, and then the other way, in such 
manner that the pocket shall be on the outside. The 
little packet thus formed is then tucked into the pocket 
of the handkerchief, the mouth of the flag pocket being 
made to correspond with that of the handkerchief, and 
lying next to the surface of the handkerchief itself. 

When the handkerchief is at the outset shown four¬ 
square, it is so held that the pocket (which is on the 
side remote from the spectators) shall be covered by 
the fingers of the right hand. The performer then 
takes the handkerchief between his hands in such a 
way that the mouth of the pocket shall be towards the 
spectators, with the bulk of the handkerchief above 
the hands. He then with the fingers of the right 
hand works the handkerchief into the pocket of the 
flag, and when it is half-way in, works the flag out, 
keeping it well under cover of the fingers. When 
the handkerchief has completely passed into the flag 
pocket, he grips the flag (by two fingers in the pocket 
and the thumb outside), and with a swing lets it un¬ 
fold itself; immediately afterwards catching the op- 
37 


578 


New Miscellaneous Tricks 


posite corner in the left hand, and showing front and 
back. 

The feat is one demanding considerable address, but, 
neatly worked, produces a complete illusion, the hand¬ 
kerchief disappearing, and the flag appearing, in effect, 
simultaneously. 

THE CHANGING HANDKERCHIEF BOXES. 

This pretty little trick is the invention of Mr. Gilbert 
of Chester. 

The apparatus is of the simplest, consisting merely of 
a couple of cardboard boxes, about two and a half inches 
square, and a little more than an inch deep. Each 
consists of a drawer sliding in an outer case, the whole 
papered over after the fashion of an ordinary match¬ 
box. The two boxes are exactly alike in appearance, 
save that the one has a square patch of blue paper, and 
the other a similar patch of red paper, pasted in the 
centre of its under side. With these is used, unknown 
to the spectators, a piece of stiff cardboard, papered 
like the boxes themselves, and of the same area, but 
having in the centre of one of its sides a duplicate of the 
blue patch, and on the other side a duplicate of the 
red one. Two small silk handkerchiefs, one red and one 
blue, complete the apparatus. 

The boxes and handkerchiefs rest at the outset on the 
performer’s table. Palmed in his left hand, he has 
the piece of card above mentioned, with the red patch 
outermost, and the blue therefore next the palm. 
His first proceeding is to hand the boxes, in a casual way, 
for examination. When these are given back, he offers 
the handkerchiefs also. While these last are being 


New Miscellaneous Tricks 


579 


inspected, he picks up the box having the red mark 
at bottom, and brings it over the card in the left 
hand. Then taking the two together in the right hand, 
the card (with the blue patch now outermost) covering 
the bottom, he calls attention to the box as being the 
one with the blue mark (as it appears to be), and forth¬ 
with inserts the handkerchief of that colour within it. 
In replacing this box upon the table, he palms off the 
cardboard fake, which he then applies, red patch out¬ 
wards, to the bottom of the blue-marked box. Showing 
this as being the red-marked one, he deposits the red 
handkerchief within it. 

Requesting the audience to bear in mind that, as 
they have seen, each handkerchief has been placed in 
the box bearing its own colour, he hands the two boxes 
to be held by two different spectators; in so doing, 
however, secretly reversing their relative positions. 
The two handkerchiefs are then ordered to change 
places, and on opening the boxes it is found that they 
have done so. The red handkerchief is found in the 
blue-marked box, and vice versa. 

It seems to me that this trick, good as it is, might 
be improved in one or two particulars. I submit my 
suggestions for what they may be worth. 

In the first place, I should use ordinary safety match¬ 
boxes (at the outset filled with matches), as being less 
suggestive of preparation than any special box, how¬ 
ever innocent-looking. One of these should have on 
the centre of its under side a red wafer, and the other 
a blue one. A further supply of similar wafers should 
be on the performer’s table. To complete his prepara¬ 
tions, he should cut away the top and bottom of a third 
match-box. These, which are usually so nearly alike as 


580 


New Miscellaneous Tricks 


to be practically indistinguishable, we will call the 
false bottoms. One of them the performer should at 
starting have palmed (the outside next the palm), and 
the other placed in a pochette or elsewhere so as to be 
readily get-at-able. 

The performer begins by picking up one of the boxes, 
say, the one which (unknown to the spectators) bears 
the blue wafer. He empties out the matches, and then 
proceeds to mark the box by sticking on the bottom of 
it one of the red wafers; first, however, secretly bringing 
over it the palmed false bottom, which therefore in 
reality receives the wafer. Having thus professedly 
marked the box red, and placed in it the handkerchief 
of that colour, he lays the box down, but without the 
false bottom, which he gets rid of after any fashion he 
pleases, palming in its place the other false bottom. 
The same operation is then repeated with the second 
box (the red), this being ostensibly marked with a blue 
wafer, and the blue handkerchief placed in it. 

So far, all is plain sailing. The spectators believe 
(contrary to the fact) that, of the two boxes on the 
table, the left-hand one, we will say, is the blue- 
wafered box, and that on the right the red-wafered 
one. The magical effect of the trick mainly depends 
on their continuing in that belief. To strengthen their 
conviction proceed as follows: While delivering your 
patter, take up a position slightly in front of the table, 
so that you have to turn towards it in order to pick up 
the two boxes. In doing so, take the one in the right 
hand between the tips of the first and second fingers, 
and the other in the left hand between the first finger 
and thumb. Under cover of the return movement 
towards the audience, “change” the two boxes as 


New Miscellaneous Tricks 581 

you would a couple of cards (see page 501). Hand 
the boxes to a couple of spectators (each of whom, 
in consequence of the change, receives the box marked 
with the colour he expected), and in due course produce 
the handkerchiefs. 

THE DEMON DIGITS. 

This novel and effective trick is a recent invention of 
Herr Adolf Blind ( Magicus) of Geneva. 

Upon an easel, of a size suited to the place and 
conditions of the performance, rests a blackboard, or, 
to speak more precisely, a board covered with black 
velvet. Across this board, half-way up, is screwed a 
fillet of wood, an inch or so in width, and of a light 
colour. On this rest, side by side, and about three- 
quarters of an inch apart, three cards, of the size of 
playing cards, and backed with some appropriate 
pattern. These bear respectively, in bold figures, the 
numbers 1, 2, and 3. Removing the cards from the 
board, the performer hands them for inspection, and 
when they are returned replaces them in the same 
relative positions (1, 2, 3), but now with their backs 
outwards. 

His next step is to hand to one of the spectators a 
slate and a piece of chalk and to invite him to write 
down any number he pleases, consisting of the digits 
1, 2, 3. He writes, we will suppose, 2, 3, 1. The 
performer orders the three cards to form that number, 
and on his again turning them face outwards they are 
found to have done so, the numbers appearing in the 
desired order. 

Again reversing the cards, just as they stand, he 


582 New Miscellaneous Tricks 

invites some one else to write down the three figures 
in a new order, and again the cards are found to have 
arranged themselves as desired. The process might be 
repeated ad libitum , though, as every expert knows, it 
is not wise to grant encores too frequently. 

The method by which this surprising result is pro¬ 
duced is as simple as it is ingenious. Against the 
upper half of the board, at right angles to the cross 
fillet, and with their lower ends resting upon it, are 
fixed four thin slips of wood three-quarters of an inch 
wide, a quarter of an inch thick, and of the same length 
as a card. The space between them in each case forms 
a compartment just the width of a card. The slips are 
covered with black velvet, like the board itself, and, by 
artificial light, the slight projections they cause are 
quite invisible. 

To complete the apparatus, two additional sets of 
three cards each are employed. These, like the others, 
bear the numbers 1, 2, and 3 respectively, but differ 
from them in the fact that they are backed with black 
velvet. To prepare for the trick, two of these are 
beforehand placed, face inwards, in each of the three 
divisions of the board. In the left-hand division (as 
viewed by the spectator) the innermost of the two 
cards bears the figure 3, and the outermost the figure 2. 
In the central division the inner card is a 3 and the 
outer a 1; and in the right-hand division the inner 
card, is a 2 and the outer a 1. On these are placed, in 
proper order, the three unprepared cards. 

We will suppose that the number which it is desired 
to produce is 3, 2, 1. In such case the performer turns 
simultaneously all the three cards in the first division, 
the unprepared card only in the second, and the two 


New Miscellaneous Tricks 


583 


front cards in the third. This must be done smartly, 
without hesitation or fumbling, the effect to the spec¬ 
tators being that the performer has merely exposed 
the three cards just previously examined. When the 
number produced has been verified, he turns the cards 
back to their normal position, and is then prepared to 
repeat the trick. 

THE ACROBATIC CARDS. 

I insert this trick at this point on account of its 
curiously close resemblance, in principle, to the one 
last described. It is the invention of Mr. Gilbert, 
already mentioned. I have no reason to suppose that 
either of the inventors had any knowledge of the 
other, or of his trick, but their minds seem to have 
travelled on precisely parallel lines. 

The performer’s first step is to force a couple of 
cards, say, the knave of spades and the knave of 
diamonds. He asks the drawers to exhibit the chosen 
cards to the company, after which he delivers patter to 
something like the following effect: “I am glad, ladies 
and gentlemen, that your choice happens to have fallen 
on these two cards, because the knaves are the most 
active cards in the pack, and the knaves of spades 
and of diamonds in particular are celebrated for their 
agility. I will endeavour to make them give a proof 
of it by jumping from one side of the table to the 
other. To enable you to see their performance the 
better, I will place them upright in these two little 
stands, one in each. ” 

The stands in question are of simple cardboard, put 
together so as to form miniature easels, closed at back. 


584 


New Miscellaneous Tricks 


The performer places one card in each, face outwards. 
He then continues: “Now I am going to command 
those two cards to change places, jumping right across 
the table. I shall not cover or conceal them in any 
way, but they are rather bashful, and will not jump 
if they know that people are looking at them, so with 
your permission I will just turn them round. Please 
notice, before I do so, that the knave of spades is 
here, on this side, and the knave of diamonds on this 
side.” He turns each card, after showing it, face 
inward accordingly. “And now for the jump.” 
Standing behind the table, he crosses his hands above 
the two cards, and then brings them swiftly apart, say¬ 
ing, “Presto! Go!” When, a moment later, he again 
turns the cards face outwards, they are found to have 
changed places. 

“It ’s a poor rule that won’t work both ways,” he 
continues. Once more I will turn the two cards with 
their backs to the company. Again I say, Go!” He 
makes the same movement as before above the cards, 
and then, turning them face outwards, shows that they 
have come back to their former positions. 

The secret is of the simplest. The two stands are 
prepared with duplicates of the cards intended to be 
forced. Each duplicate is placed on the stand face 
inwards, and covered with a loose piece of cartridge 
paper cut to the exact size and shape of a card. To 
the eye of the spectator the paper is merely the back 
of the cardboard stand, which therefore appears empty. 
In exhibiting the trick, the performer places the forced 
knave of diamonds on the stand which contains the 
knave of spades, and vice versa. To effect the change 
he has only to turn both cards, with the piece of paper 


New Miscellaneous Tricks 


585 


between them, together. To reproduce the original 
cards, after replacing each couple upon the stand, he 
turns the front card only. 

If the performer has a moderate amount of skill in 
card-conjuring, he may greatly heighten the effect of 
the trick by making the cards pass from hand to hand 
in the first instance, after the manner described on 
page 501. It would then (apparently) strike him 
that, as he held the cards in his own hands, he might 
be suspected of himself producing the effect. To 
prove the contrary, he would offer to make the 
cards repeat their performance without his touching 
them, and fulfil his undertaking after the manner above 
described. 

THE BALL OF WOOL TRICK (IMPROVED). 

The passing of a borrowed ring or marked coin into 
a ball of wool is, as the reader is doubtless aware, 
one of the oldest of conjuring tricks. To those who 
are not in the secret, it is a capital trick still, being 
in its way as much of a puzzle as the problem of how 
the apple got into the dumpling, which so perplexed 
King George the Third. 

Unfortunately, the trick, in its ancient form, is a 
secret no longer, having been given away by nearly 
every “Boys’ Own Book” that has been published for 
the last fifty years. Some of our German friends have, 
however, recently revived it, with improvements. I 
have ventured to amend what seem to me a few weak 
points in their working, and to introduce a little 
expedient of my own for the secret abstraction of a 
borrowed ring or coin. The trick thus modified will, 


586 


New Miscellaneous Tricks 


I think, be found well worth exhibition, and will 
puzzle even those who are familiar with the older 
working. 

The special device to which I have above referred, 
and which will be found applicable to many other 
tricks, is the abstraction of the ring from the inner¬ 
most of a number of boxes, in which it has been se¬ 
curely deposited by the spectators themselves. This 
effect is produced by a novel use of a very old friend 
of the conjurer, the familiar “nest of boxes.” The 
nest most suitable for the present purpose is the set 
of twelve circular boxes, usually sold at half a guinea, 
or thereabouts. This must be supplemented by dupli¬ 
cates of the three smallest boxes, the more closely re¬ 
sembling the originals the better. The most essential 
point, however, is that the larger of the three shall 
fit precisely within the next larger of the full set. 

To prepare for the trick the twelve boxes of the com¬ 
plete set are taken apart, and, with their lids replaced, 
laid on a tray upon the table. The three duplicate 
boxes are deposited, closed and one within the other, 
but otherwise empty, in the performer's left pochette 

The ball of wool is prepared after a special fashion. 
A flat tin tube is employed, as in the older form of 
the trick, but before the wool is wound into a ball, one 
end of it is formed into a loop, three inches in length. 
This loop is drawn through the tube till its whole 
length projects at one end; the remainder of the wool 
being then wound on to the opposite end in the usual 
way. The ball thus prepared lies on the operator's 
table, with the tube pointing to the rear, and the loop 
resting between a couple of headless pins driven into 
the table-top in such manner that not quite half an 


New Miscellaneous Tricks 


587 


inch of their length shall project above it, and just 
so close together as to admit the doubled wool of the 
loop, but not to allow the knot to pass between them. 
The extremity of the loop is passed over a specially 
fashioned stud of blackened cork, fixed to the surface 
of the table. To prepare this, take a cork such as 
is used for a medicine bottle, five-eighths of an inch 
in diameter at top. From its larger end take a piece 
half an inch in depth, and on each side of this, half 
way up, cut a horizontal groove, just deep enough to 
receive the wool. At right angles to each of these, 
towards the smaller end of the cork, cut a similar 
groove. The cork is then (by means of a tack or 
French nail driven through it) attached, broader end 
downward, to the surface of the table, about an inch 
and a half to the rear of the two pins before mentioned. 

To prepare for the trick, the ball of wool, with the 
tube to the rear, is placed immediately in front of the 
two pins, and the loop passed between them, the knot, 
drawn up close to them, on the side next the ball. 
Thence the loop, freshly stiffened with soft wax or 
moustache paste, is pressed into the grooves on 
either side of the cork, with its bight tilted up, the 
whole arrangement being as shown in Fig. 227 Beside 
the ball is placed a glass goblet, of such a size as to ac¬ 
commodate it comfortably. Suspended to an ordinary 
dress-hook, sewn to the hinder part of the performer’s 
right trouser-leg, is a dummy wedding-ring. 

These preparations duly made, the performer re¬ 
quests that some lady will oblige him with the loan 
of a wedding-ring. When, however, the owner is 
about to hand it to him, he asks her to retain it for a 
few moments, while he makes arrangements for its 


588 New Miscellaneous Tricks 

safe-keeping. To that end, he brings forward the tray 
with the set of boxes, and distributes them among 
the spectators, beginning with the smallest box, which 
he hands to some person seated at some little distance 
from the owner of the ring. The boxes are delivered 
in regular order, from the smallest upwards, but it 
accidentally (?) happens that between the third and 
fourth recipients there is some little interval, just too 

great, in fact, for an ar¬ 
ticle to be handed direct 
from the one to the other. 
If circumstances permit, 
it is desirable that the 
last-named person should 
be one seated a little 
behind the other. 

While inviting the 
company to make sure 
Fig. 227. that the boxes handed 

to them have no opening 
save the legitimate and obvious one, the performer gets 
the duplicate wedding ring on to the tip of his right 
forefinger, which he folds into the hand. Then ad¬ 
vancing to the intending lender of the genuine ring, 
he says: “Now, madam, so that you may not lose 
sight of your ring even for a moment, will you kindly 
place it on the tip of my finger?” The finger held 
up is, it is hardly necessary to remark, the second 
finger. He then crosses over to the person who holds 
the smallest box and asks him to take the ring and 
place it in the box he holds. In transit, however, he 
changes the rings, 1 bringing up the forefinger and fold- 
1 Compare p. 189. 






New Miscellaneous Tricks 


589 


ing down the second finger, so that it is the dummy 
ring which is placed in the box. This done, he takes 
the box and passes it to the holder of the next larger, 
with a request that he or she will enclose the small 
box in the larger one. This is repeated with the next 
box, No. 3. Meanwhile, he has transferred the bor¬ 
rowed ring to the hook, and got the duplicate set of 
three boxes from the pochette into his left hand. 
Receiving the genuine box No. 3 from the last 
holder, he makes believe to transfer it, for greater 
convenience, from the right hand to the left, and 
thence passes in its stead the duplicate set to the 
holder of No. 4, who in due course encloses it 
therein. 

When this stage has been reached, the performer 
appears to realize that perhaps the less part he him¬ 
self takes in handling the boxes, the better. Hence¬ 
forth, therefore, he contents himself by requesting 
that each holder, when he has duly enclosed the box 
handed to him, will hand it on to his neighbour. 
Meanwhile, he himself steps back to his table and waits 
the completion of the process; in transit getting rid 
of the three boxes he holds into his profonde, and taking 
the borrowed ring from the hook into his right hand. 
He stands, in appearance, merely waiting at his table, 
but he is not really quite so idle as he seems. While 
watching with apparent interest the insertion of the 
boxes one within the other, he passes the borrowed 
ring over the cork, thereby passing it over the loop. 
Inserting the top of the forefinger within the bight, 
he nips the ring between forefinger and thumb and 
draws home to the end of the loop; wherein it thus 
becomes securely engaged therein. The two nails, 


590 


New Miscellaneous Tricks 


holding back the knot, supply the necessary resistance 
to enable him to do this with one hand. 

It is hardly necessary to remark that this process, 
though it lasts but a moment or so, must be effected 
under cover of a proper accompaniment of patter. 
This may take the form of an imaginary account 
of the purchase of the wool, with an appeal to the 
ladies present as to whether three halfpence a yard (or 
some other preposterous amount) was a proper price 
to pay for it, and a protest against the advantage 
taken by pretty saleswomen of a “mere man” when 
he ventures to speculate in goods appropriate to the 
fairer sex. 

When the eleventh box has been deposited within 
the twelfth, the performer says to the holder of the 
latter: “Now, sir, unless some one has taken out the 
lady’s ring while the boxes have been passing from 
hand to hand, which seems hardly likely, it is now safe 
in your custody, and except by using violence, which 
I should not like to do (especially as you are a bigger 
man than myself), I can’t possibly get it away from 
you. But I like doing impossibilities, and I shall take 
it away from you notwithstanding. And to make the 
feat more surprising, I shall make it pass into the centre 
of this ball of wool, which has been here before your 
eyes all the evening.” 

So saying, he picks up the ball of wool with the 
right hand, in so doing dropping the ring into it, and 
with the other hand draws the ball off the tube, gives 
it a squeeze, and drops it into the glass. 

The trick is now practically done. The boxes being 
opened one by one, the innermost is found to be empty, 
and on unwinding the ball of wool the ring is found 


New Miscellaneous Tricks 


59i 


apparently tied to its inner end, a decided addition to 
the effect of the trick. The idea of this addition must 
be credited to the German wizards; but in their ver¬ 
sion, as described in Die Zauberwelt , the performer 
carries off the ring and inserts it into the ball behind 
the scenes. The method I have suggested is, I venture 
to think, more artistic. It is no doubt somewhat 
difficult, but still well within the compass of any 
moderately skilful performer. 

A choice between two balls of wool is sometimes 
offered, the selection of the right one being forced by 
means of the familiar “right” or “left” equivoque. 

With regard to the tube itself, it will be found a 
great advantage to have the edges of what may be 
called its “mouth” end opened outwards,after the man¬ 
ner shown in Fig. 228. This not only facilitates the 

Fig. 228. 

introduction of the ring, but also the withdrawal of 
the tube from the ball of wool, as the performer in this 
case has only to clip the tube between his fingers in 
order to get the necessary grip upon it. 

THE NEW CARD FRAME. 

The reader is doubtless familiar with the “sand” 
frame, wherein a card or photo is temporarily con¬ 
cealed from sight by a layer of sand between the 
glass and the card, the turning of the frame, the other 
way up causing the sand to trickle away into a secret 





592 


New Miscellaneous Tricks 


cavity, and disclosing whatever may have been behind 
it. The frame I am about to describe is like the sand 
frame in general appearance, and serves, broadly speak¬ 
ing, the same purpose, but differs from it considerably 
in point of construction. 

The frame (shown back and front in Fig. 229) measures 



Fig. 229. 


five inches by four, the glass, or its visible portion, being 
about an inch smaller in each direction. It is backed 
by a thin slab of wood, kept in position by a cross-bar 
working on a pivot at one of its sides, and fitting into 
a little wire staple on the opposite side. This, like the 
hinder part of the frame itself, is stained a dull black. 
The apparatus is completed by a little piece of black 
silk, of the same width as the movable back but about 
an inch longer. Three of its edges are left as cut, but 
the fourth, at one end, is pasted round a bit of stout 
string or wire, so that the piece of silk forms a sort of 
miniature blind, with lath at the bottom. 

To prepare for the trick (the magical production of 
a card under the glass), the frame is laid face down¬ 
wards and the back removed. The piece of silk is 
laid upon the glass, the card, face downwards, upon the 























New Miscellaneous Tricks 


593 


silk, and the back over all, a small portion of the 
wired end of the silk hanging out between the lower 
end of the back and the frame. It should be men¬ 
tioned that the back is purposely made a trifle short, 
leaving a little gap at bottom, so that by taking 
hold of the stiffened end the silk can be drawn out at 
pleasure. 

There are various ways of using the frame, but I 
shall content myself by describing what I venture to 
think one of the neatest. For this particular working, 
duplicate frames are required. One of these is prepared 
as above, but with a double-faced card, which we will 
suppose to be the knave of clubs, backed by the seven 
of diamonds. The frame, thus loaded, is placed in the 
clip of a card servante attached to the back of a chair. 
(See pages 19 and 20, Fig. 19.) Close beside it, care¬ 
lessly thrown over the back, is a handkerchief. 

The other frame has no preparation, being in fact 
merely a dummy, designed to be handed for inspection. 
The spectators are invited to take it to pieces, and to 
satisfy themselves that it consists solely of the three 
items, frame, glass, and back. While it is being' ex¬ 
amined, the performer invites a couple of spectators 
each to draw a card, forcing upon them the seven of 
diamonds and the knave of clubs respectively. 

The frame having been duly examined and put 
together again, the performer takes it in his right hand 
(the pack being held in the left), and with the same 
hand picks up the handkerchief from the back of the 
chair. Under cover of this movement he drops the 
frame just examined into the bag of the servante, and 
takes in its place the prepared one. There is nothing 
to call attention to the change, for the black silk is 

38 


594 


New Miscellaneous Tricks 


indistinguishable from the wooden background. Ad¬ 
vancing to the table, he puts down the pack of cards, 
stands the frame on the table in an upright position, and 
throws the handkerchief over it. He then, with the left 
hand, grips the frame at top, through the handkerchief, 
and lifts both together. The thumb and forefinger of the 
right hand meanwhile close on the stiffened end of the 
silk, which is thereby drawn out, and if the conditions 
of the “show” permit, is left upon the table; if other¬ 
wise, is dropped upon the servante behind it. The 
frame, still covered, is handed to a spectator to hold. 
The seven of diamonds (assuming that that side of 
the double card was placed next the glass) is taken from 
the holder, and “vanished” after any fashion the per¬ 
former pleases. The handkerchief being removed, it 
is found to have passed into the frame. 

But the second card has still to be accounted for. 
Standing behind or beside his table, the performer, 
as if merely to show “all fair,” takes out and lays 
down the back of the frame, and shows the card as the 
seven of diamonds. This is held in the right hand, 
and ’the frame and glass in the other. Laying these 
on the table, face downwards, he transfers the card 
to the left hand, in such manner that it shall reach 
the hand in a horizontal position, and with the side 
previously shown uppermost. This may be neatly 
effected as follows: Hold the card upright in the 
right hand between the tips of the first and second 
fingers, the seven of diamonds side turned to the 
company. When about to transfer it to the left hand, 
bring the tip of the thumb in front of it, and with 
this, during the transit, tilt it up so that it shall make 
a half turn on its shorter axis. If a slight turn of the 


New Miscellaneous Tricks 595 

right wrist be at the same time made, the card will 
reach the left hand in the desired position. 

Held as above, the spectators cannot distinguish the 
nature of the card, nor indeed which side is uppermost. 
In this position it is dropped into the frame, the knave 
of clubs side being thus brought next the glass. The 
back is replaced and secured in position. Again the 
frame is covered with the handkerchief, and the second 
of the drawn cards vanished, to reappear in the frame 
in place of the one previously seen. 

It is hardly necessary to remark that the second 
card should not be got rid of in the same manner as 
the first. If in the one case the card has been vanished 
by sleight of hand, in the other some mechanical 
apparatus (say, the card-table or card-box) should be 
employed. 

The trick may of course be simplified by producing 
one card only, but in this case it is too quickly over 
to produce any great effect. 

OUTWITTING THE CONJURER. 

This is a little magical comedy. It is scarcely 
adapted for stage performance, but may be relied on 
to create some fun at a drawing-room “show,” or in 
a family circle. 

Two cards are selected from the pack by different 
spectators, perfect freedom of choice being allowed. 
The drawers are invited to hold them up, that all may 
see what they are. “Now, ladies and gentlemen,” says 
the performer, “you have seen that those two cards 
were freely chosen, and you can all see what they are 
so there can be ‘no deception.’ I propose to make 


596 


New Miscellaneous Tricks 


them do a very remarkable thing. I shall put them 
into two separate envelopes, which you may seal if you 
please, and I shall then make the two cards change 
places. For the moment, however, I will ask you to 
put them here on the top of the pack, while somebody 
chooses the envelopes. Pray observe that I don’t 
move or tamper with them in the slightest degree. ” 

He accordingly replaces his two cards on the pack, 
showing each as he does so. We will suppose that the 
one first replaced is the eight of spades, and the second, 
which is consequently laid on the top, the queen of 
diamonds. The performer lays the pack on the table, 
and picking up a packet of envelopes steps forward 
to the audience, and has tw^o of them chosen. While, 
however, his back is turned for this purpose one of 
the spectators, taking the company into his confidence 
by a meaning wink, steps slyly up to the table, and 
transfers the top card to the middle of the pack. The 
other spectators, according to temperament, are amused 
or scandalized at the idea of thus “taking a rise” out 
of the conjurer; but as a rule, no one ventures to 
denounce the offender. 

Two envelopes having been selected, the performer 
returns to his table, and taking the top card without 
looking at it, remarks: “I will place this top card, 
which you will remember is the queen of diamonds, in 
this first envelope.” He fastens down the flap and 
hands the card thus covered to some one for safekeeping. 
Having done the same with the other card (professedly 
the eight of spades), he says: “To prevent any possi¬ 
bility of mistake, we will have the name of the card 
in each envelope marked outside.” He hands to each 
of the holders a pencil. “Write down, sir, please, 


New Mis is Tricks 


597 


on your envelope, the diamonds. And you, 

madam, on yours, the e .des. That is correct, 

I think? You are both ain that the envelope 

contains the card whos< u have written upon 

it?” Naturally, the persons appealed to are not cer¬ 
tain (their real belief being to the contrary), and they 
say so. 

The performer pretends some little annoyance at 
their incredulity, and at this stage some sympathising 
person, indignant that he should be made a fool of, 
usually gives him a more or less broad hint as to the 
true state of the case. If not, he, after a little more 
discussion, begins to suspect, from the expression of the 
various countenances, that some sort of trick has been 
played upon him, and appeals to some trustworthy 
member of the company to tell him what is wrong. 
There is no withstanding such a direct appeal, and the 
truth comes out. 

“Oho!” says the performer, “we have two conjurers 
here, it seems. I ought to have looked at the cards 
before I put them into the envelopes, but I never 
thought any one would play me such a trick. Of 
course this has altered matters considerably. Let me 
see, how do we stand? The queen of diamonds is 
somewhere in the middle of the pack. This envelope, 
marked 'queen of diamonds,’ really contains the eight of 
spades; and this other one, marked 'eight of spades,’ 
contains some unknown card. That is the state of the 
case, I think? Under these circumstances I can’t show 
you the precise trick I intended, but, so as not to 
disappoint you, I will do something else even more 
surprising. I will make the right cards find their way 
into the right envelopes. Queen of diamonds, will 


598 


New Miscellaneous Tricks 


your Majesty kindly favour me by passing into this 
envelope which has your name upon it?” 

He takes the cards and “ruffles” them in the direc¬ 
tion of the appropriate envelope. “The queen has 
gone, for I felt an electric spark run up my arm. With 
the other card we need not be quite so ceremonious. 
Eight of spades, leave this envelope and pass into the 
other. ” He appears to weigh the envelope in his hand, 
“Yes, he has gone. The queen herself would see to 
that. Her Majesty would never consent to remain shut 
up with a common ‘pip’ card.” The envelopes are 
opened, and each is found to contain the proper card. 

The explanation lies in the fact that the person who 
shifts the card does so in pursuance of a private under¬ 
standing with the performer, and that the latter, when 
replacing the second card upon the pack, deposits 
upon it an indifferent card, palmed a moment or two 
previously. It is, therefore, this last-mentioned card 
which is really placed in the middle, the other two 
remaining undisturbed, and in due course being placed 
in the proper envelopes, where they are ultimately 
discovered. 

In a general way the employment of a confederate, 
in any way, is an abomination to a self-respecting con¬ 
jurer, but the little drama above described is more in 
the nature of a practical joke than a conjuring trick 
proper. In such a case the offence may fairly be 
excused. 


THE GREAT BOOK MYSTERY. 

This, again, is a capital drawing-room trick. It is of 
the mathematical order, but the principle on which it is 


New Miscellaneous Tricks 599 

worked is very well disguised, and, skilfully presented, it 
may be relied on to produce an extraordinary effect. 

A spectator is invited to take up a book, any book 
he pleases, and to choose a word on any page of it, with 
the limitation that such word must be in one of the 
first nine lines of the page, and within nine words of 
the left-hand margin. The performer may here intro¬ 
duce a little patter as to “nine” being an especially 
magical number, the fact, known to most people, that 
it has sundry curious arithmetical qualities tending to 
support his assertion. 

The selection having been made, the chooser is 
requested first to concentrate his mind steadily on the 
number of the page, and then to multiply it by ten. 
To the product he is instructed to add twenty-five and 
the number of the line. The resulting figures are to 
be again multiplied by ten, and the number at which 
the word stands in the line to be added to the product. 
The ultimate result is to be then made known to the 
performer, who, with due appearance of mental effort 
opens the book and turns up the chosen word. 

The secret is as follows: The performer mentally 
deducts 250 from the final result. Of the remainder, 
the last digit is the number at which the word stands 
in the line, and the last but one the number of the 
line, while the remaining figures answer to the number 
of the page. Thus, suppose that the word stood 
seventh in the sixth line of the forty-third page, 
the process will then work out as under: 

43 X 10 = 430 
430 + 2 5 +6 = 46i 
461 X 10 + 7 = 4617 


6oo 


New Miscellaneous Tricks 


And 4617—250 = 4367, which, separated into its 
component parts, gives, as will be seen, the numbers 
43, 6, 7. 

If the performer is asked or volunteers to repeat the 
trick, it will be well to alter the mode of procedure. 
The reader is probably acquainted with the fact that 
if any sum (under £12) of pounds, shillings, and pence, 
is reversed, and the smaller of the two amounts sub¬ 
tracted from the larger, the remainder being then 
reversed and added to the amount previously obtained, 
the ultimate result will, invariably be £12, 18s. lid. 
Such, at any rate, is the case. An example may render 
the process clearer. Suppose the original sum to be 
£6, 5s. 1 id. This, reversed, will be £11, 5s. 6d., and 
£11, 5s. 6d. less £6, 5s. nd. = £4, 19s. 7d. This amount 
reversed will be £7, 19s. 4d., and adding the two last 
amounts together, the total will be, as above stated, 
£12, 18s. 1 id. Whatever the original figures, the final 
result will be the same. 

This fact is occasionally made the basis of a conjuring 
trick, the piece of paper on which the sum has been 
worked out being placed in a sealed envelope, and the 
result magically “read” by the performer. I am in¬ 
debted to Mr. J. Holt Schooling, the eminent statis¬ 
tician, for another and very ingenious mode of using it, 
which may be made to form an excellent sequel to the 
trick first above described. 

A spectator is invited to mentally select an amount 
within the prescribed limit of £12, 1 and to work out 
the process above indicated. To enable him to do so 

1 The reason for adopting this amount as a maximum is that other¬ 
wise the sum, when reversed, would exhibit a number exceeding eleven 
in the pence column. 


New Miscellaneous Tricks 601 

the more conveniently, he is handed a pencil and paper, 
and a book to use by way of desk. When he has 
worked out the sum, the performer, calling special 
attention to the fact that he has asked no question, 
and is therefore in absolute ignorance as to the figures 
involved, suggests that the pounds of the result shall 
be considered to denote the number of a corresponding 
page in the book; the shillings the number of a line on 
that page, and the pence the position of a word in that 
line. He will then endeavour to discover the word by 
thought-reading. 

As a preliminary step the person who has worked 
out the sum is requested to look out the word so 
indicated, and to concentrate his mind steadily upon it. 
The two persons concerned then join their right hands, 
and with the other hands hold the closed book between 
them. After the usual mental struggle for the sake of 
dramatic effect the conjurer names the word, which, as 
the reader is aware, will necessarily be the eleventh 
word in the eighteenth line of the twelfth page. The 
operator, possessing the same knowledge, has, of course, 
privately ascertained the word before hand. 

The operator may, if he pleases in a careless way 
(say with the remark “you had better take one of these 
books to write on,” or some words to that effect) offer 
the choice of three or four books, having duly memorized 
the appropriate word in each of them. The trick must 
not, however, be repeated, as the fact that the same 
numerical result again appeared would give away the 
secret. 

An alternative plan is to let the spectators use any 
book they like, the word being consequently unknown 
to the performer. In this case he (by the same process) 


602 


New Miscellaneous Tricks 


“thought-reads’’ in succession the page, line, and word, 
after which he himself opens the book and finds the 
word. This, however, is scarcely so effective as the 
other method. 

THE CRYSTAL BALLS (IMPROVED METHOD). 

I gave in Modern Magic (p. 426) two versions of this 
capital trick, but the working I myself adopted when 
giving a “show” differed in several particulars from 
either. I have on several occasions been asked to 
describe it in print, and I take this opportunity of 
doing so. Whether I am justified in calling the method 
“improved” I must leave to the judgment of the reader. 

The requirements for the trick in this form are as 
follows : 

1. Two clear glass balls: one of ruby glass and one 
of polished ebony, 1 each one and a half inches in 
diameter. 

2. One clear glass ball, three-quarters of an inch in 
diameter. 

3. A shell or half-ball of spun brass, fitting over 
either of the larger balls, japanned black, and polished. 
In the centre of the concave side is glued a bit of 
chamois leather, the size of a two-shilling piece, this 
addition making the shell absolutely silent in use. 

4. A pint champagne bottle (see Fig. 230) coated 
within with black japan to make it opaque, and bear¬ 
ing a printed label taken from a bottle of ink of some 
well-known maker. The “kick,” or cavity at the 

1 Strictly speaking, this ball should be of black glass, but I found 
one of ebony more easily obtainable, and being of good colour and 
highly polished, it passed muster as glass, even at the closest quarters. 


New Miscellaneous Tricks 


603 


bottom, is partially filled with a resinous black cement, 
so as to leave just room enough to accommodate one 
of the larger balls. To the neck of the bottle is adapted 
a tin or brass tube, a , of such diameter as to fit com¬ 
fortably within it. This tube is closed at bottom, 
and has its upper edge turned over so as to form a sort 
of cap, modelled to fit the neck externally. This also 
is japanned black and polished, so that when in position 
in the neck of the bottle it does not 
alter its appearance. In prepar¬ 
ing for the trick, the bottle is half 
filled with clear water, after which 
the tube is inserted as above, filled 
nearly to the top with ink, and 
corked in the ordinary way. 1 

On the performer’s table, in ad¬ 
dition to the bottle, are two lighted 
candles, a couple of wine-glasses, 
and a small piece of soft whitey- 
brown paper. I used in addition 
a couple of little glass stands, like 
miniature candlesticks, whereon to 
rest the balls during the progress 
of the trick. These are, of course, 
not essential, but they add mate¬ 
rially to the effect, as enabling the balls to be better 
seen. 2 

The balls were disposed as follows: One of the 
larger clear glass balls in the right sleeve, and the 

1 It will be observed that this bottle is identical with that described 
in Modern Magic (p. 430), save that it represents, in this case, an ink 
instead of a wine bottle. 

2 A graceful form of stand for this purpose will be found illustrated 
in connection with Hartz’s Billiard Ball trick, p. 670. 








604 New Miscellaneous Tricks 

other under vest, in centre. The small ball was placed 
in a little silken pocket under the right-hand lapel of 
the coat. The black ball and shell were vested on the 
right side, and the ruby ball was placed in the right 
pochette. 

The performer comes forward at starting with the 
wand held across his body between the forefinger and 
thumb of each hand. The palms are turned toward the 
spectators; incidentally showing that the hands are 
empty. With the arms in this position, the ball in the 
sleeve is quite safe. The patter I was accustomed to 
use was to something like the following effect: 

“My next experiment, ladies and gentlemen, will be 
an illustration of the art of glass-making. If any of 
you have ever watched a glass-blower at his'work, it 
no doubt struck you what pretty effects he was able to 
produce by very simple means. But with the aid of 
magic, it becomes a simpler matter still. I do not even 
require the ordinary tools. All I need is my wand, a 
candle to supply heat, and a little of the raw material 
to work with. This last I shall collect from the air on 
the end of my wand. There are always plenty of glass 
particles floating about, if you only know how to catch 
them. ” 

At this point the performer, holding his wand in 
the left hand, makes little slashes with it in various 
directions; under cover of this movement lowering the 
right arm, and allowing the ball in the sleeve to roll 
out into the right hand, which forthwith palms it. 
The right hand is then drawn smartly along the wand, 
and produces the ball as if from the tip. 1 “Here is a 

1 After the manner in which balls are produced in the Cups and 
Balls trick. (Modern Magic , p. 276.) 


New Miscellaneous Tricks 


605 


lump of glass, you see. It is a little out of shape as 
yet, but that is easily rectified. All that is necessary is 
to warm it a little” (he holds it over the candle flame) 
“so as to soften it a bit, and then give it a roll between 
the hands. Now, you see, it is quite round. ” (It was, 
of course, round to begin with, but the audience cannot 
be certain that it was so.) 

“Again I warm it over the candle, and it becomes so 
soft that I can do pretty much what I like with it; 
for instance, I just take it in my left hand, so” (really 
palming it in right). “It at once passes up my sleeve, 
and comes out here, at the elbow. I can pass it right 
down through the candle and candlestick, and out at 
the bottom, in the same way. ” (Ball reproduced each 
time accordingly. Other passes may be introduced at 
pleasure.) 

“By heating it a little more” (ball again held over 
candle) “I can even make it soft enough to be swal¬ 
lowed.” The ball is shown in left hand, apparently 
taken in right (by the tourniquet), and the right hand 
carried to mouth, and immediately afterwards shown 
empty. Performer makes a pretended attempt at 
swallowing; then, shaking his head, brings the right 
hand to centre of vest, and produces ball (really the 
duplicate) from beneath it. “No! I can’t manage it. 
It isn’t quite done enough; and underdone glass is 
very indigestible. 

“When you have got one ball, if you want another, 
that is a very easy matter. All you have to do is to 
warm the first one a little more” (he holds the one last 
shown with the right hand over the candle), “twist it 
into two pieces, and there you are. ” Under cover of 
the twisting movement, he brings the two balls simul- 


6o6 


New Miscellaneous Tricks 


taneously to the tips of the fingers, one in each hand, 
as if the one had been made into two; then places 
them one on each of the little stands, or side by side 
on the table, as the case may be. “I can generally 
get both balls exactly the same size, but I have not 
been quite so successful as usual, for I see this one is a 
trifle larger than the other. However, that is soon set 
right. All I have to do'is to pinch a little piece off it 
—so. ” 

While professedly comparing the sizes of the two 
balls (which, as a matter of fact, are exactly alike) the 
performer stands with his hands grasping the lapels of 
his coat, one on each side, thereby gaining an oppor¬ 
tunity to squeeze out the small ball from the little 
pocket into his right hand. Taking the supposed 
larger ball in the left hand, he makes the motion of 
twisting off a bit from it, and shows the little ball at 
the tips of the fingers. 

“Now, I think, we shall find both balls exactly 
the same size. No! they are not quite right yet; 
this one is still a trifle the larger. I must pinch off 
a little bit more. Or, better still, I will add the little 
piece I pinched off to the smaller ball. One! Two! 
Three! Now, you see, they are exactly the same 
size. ” 

At each of the words, “one, two, three!” a move¬ 
ment of the right hand, holding the little ball at the 
tips of the fingers, is made towards the larger ball, held 
in the left. At the word “two” the little ball is rolled 
by the thumb between the roots of the second and 
third fingers. At “three,” therefore, it has vanished,* 
having professedly passed into the other. 

“That is better. Now, you see, the two balls are 


New Miscellaneous Tricks 607 

exactly the same size. ” 1 The two balls are here shown, 
one in each hand, lying on the fingers, the one in the 
right hand concealing the little one behind it. The 
performer then places one on each of the two stands, 
getting rid of the small ball into a servante or a 
profonde. 

“Now, ladies and gentlemen, having shown you how 
to make glass, I will show you how to colour it. I 
shall use the simplest possible form of dye, namely, or¬ 
dinary ink. ,, He removes the cork from the bottle, 
and pours the contents of the tube, by way of sample, 
into one of the wine-glasses. “Will some gentleman 
(a literary gentleman for choice) examine this, and 
testify that it is mere common, ordinary ink? You 
may smell it, taste it, or write a cheque with it; in 
fact, use any test you like. Or perhaps some lady 
would kindly lend me her handkerchief to wipe the 
neck of the bottle. That will be still more conclusive. 
It’s curious: nobody offers. I have tried to borrow 
a lady’s handkerchief for this particular purpose no 
less than 1197 times, and I have never succeeded yet. 
Fortunately, it is of no consequence. I will use this 
piece of paper instead.” 

He accordingly wipes the neck of the bottle with 
the paper, immediately holding up the latter, and 
showing the inky stains. A second time he brings 
the paper over the neck and wipes it, under cover of 
doing so twisting out the tube within the paper, and 
laying both together on the table. 


1 It is a curious instance of the force of the imagination, appropri¬ 
ately directed, that fully nine out of ten spectators will be persuaded 
(and will afterwards stoutly maintain) that the two balls were originally 
of different size, but were made equal after the manner indicated. 


6o8 


New Miscellaneous Tricks 


‘‘Now, ladies and gentlemen, which of the two balls 
shall I colour? It is all the same to me. This one? 
Very good!” He rests the ball indicated on the neck 
of the bottle, then picks up the latter with the left 
hand, taking it up by the neck, and under cover of 
this movement gets the ebony ball secretly into the 
right hand. “The ball is rather large to go into such 
a narrow-necked bottle, but I shall have to get it in 
somehow.” As he says these words, he transfers the 
bottle to the right hand, grasping it round the bottom, 
and in so doing introduces the ebony ball beneath it. 
The glass ball he removes from the neck with the left 
hand and holds it up, replacing the bottle for the time 
being on the table. 

“The only plan will be to soften the ball again.” 
He holds it over the candle, rolls it between the hands, 
and then takes it between the thumb and forefinger 
of left hand. “Or perhaps the better way will be 
to dematerialize it altogether.” He makes believe, 
by the tourniquet, to take it in the right hand, the 
palm of which he then brings down with a “plop” 
on the neck of the bottle, meanwhile dropping the 
ball on to the servante or into a profonde. 1 “That 
is all right! The ball has passed right in. No, I 
am not joking, the ball is fairly in, as you can tell 
by the sound. ” 

Here he picks up the bottle grasping it low down 
with the right hand. This he does with a slight tilting 
movement which enables him to get the tip of the 
little finger under the bottle. This prevents the ball 

1 In my later performances I worked this trick on what is known as 
the “Black Art” table, described on p. 85. The balls which had 
served their turn were simply dropped into the pockets, thereby 
getting rid of them in the easiest and most deceptive manner possible. 


New Miscellaneous Tricks 609 

falling out of the cavity, though, when the bottle is 
shaken, it rattles as though it were actually inside. 

“So far we have succeeded very well; but now comes 
a difficulty. How are we to get the ball out of the 
bottle again? I think I heard somebody say, ‘Break 
the bottle'; but that won’t do. I shall want the bottle 
again. Besides, how about the ink on the carpet? No, 
we must find some neater method than that. Suppose 
we try atmospheric pressure. One! two! three!” 

At each word he brings the palm of the extended 
left hand smartly down on the mouth of the bottle, and 
at the word “three” releases the concealed ball, and 
lets it fall on the table. “Here is the ball again, you 
see, but now stained completely black. You may 
fancy perhaps (people are so suspicious), that this is 
some other ball. To prove to you that such is not the 
case, and that this is really the very same ball but 
stained with the ink, I will once more pour out some of 
the ink. You will find that it is now clear white, the 
whole of the colour having been absorbed by the ball. ” 

He accordingly pours out some of the water into the 
second wine-glass, and while bringing this forward, 
held in the left hand, gets down the black shell into 
the right. Returning to his table and picking up the 
black ball, he slips this into the shell, holding it in the 
right hand. 

“This ball has got so very black that I daresay, if 
we tried, we could make it colour the other ball also. 
See, I merely rub them one against the other, and they 
are now both black. ” 

To produce this effect, he shows the black ball 
covered by the shell, in the right hand, and the glass 
ball in the left. Under cover of the pretended rubbing 

39 


610 New Miscellaneous Tricks 

them one against the other he transfers the black ball 
to the left hand, and the clear glass ball to the right, 
covering it with the shell. After having shown them as 
black balls, one in each hand, he transfers apparently 
the ball held in the right hand (but really the shell only) 
to the left, holding them as in Fig. 231, so that the 
left hand now apparently holds two 
black balls. While the general at¬ 
tention is drawn to these, the right 
hand drops the clear glass ball into 
the profonde, and palms in its place 
the ruby ball from the pochette. 

“You will remember, by the way, 
that we started with one ball, and 
made it into two. Now we may 
as well make the two into one 
again.” (With a wave of the left 
hand, he brings the black ball 
behind the shell and shows them as 
one only.) “Perhaps some one would like to examine 
the ball. You would, madam?” (He drops the black 
ball, without the shell, into the extended hand, and gets 
rid of the shell under the vest, or into the profonde.) 1 

“I will now show you a still more curious effect. 
I will take this ball, which, as you see, is at present 
jet black and perfectly opaque, and warm it once more 
over the candle. You will find that warmth fuses the 
inky colour, and the ball again becomes transparent 
as at first, but of a beautiful ruby red.” 

1 As a matter of magical chronology, I may mention that my use of 
a “shell” ball, as above, was considerably earlier than the invention 
of the same expedient, in connection with his Billiard Ball trick, by 
Buatier de Kolta. I failed, however, to realize the very extensive 
developments of which the idea was susceptible. 



Fig. 231. 


New Miscellaneous Tricks 


611 


This very pretty effect,which is of my own invention, 
is produced as follows: The performer makes believe 
to transfer the black ball, shown in the left hand, to 
the right, which, it will be remembered, contains the 
ruby ball. Without a moment’s interval, he shows 
the ball in the hand; but after the manner depicted 
in Fig. 232, the ball being held behind the candle flame 



Fig. 232, 


and completely enclosed by the hand save as to the 
small portion left visible between the thumb and the 
root of the forefinger. Under these conditions, as no 
rays of light pass through the ball, it appears to be 
black, and is undistinguishable from the ball just 
previously shown. To change its colour, the hand is 
moved about over the candle, and ultimately brought 
in front of the flame, the fingers being meanwhile 
opened by degrees, so as to allow the rays of light to 
pass through the ball, under which circumstances it 
gradually assumes its natural ruby colour. 






6l 2 


New Miscellaneous Tricks 


The trick may be brought to an effective conclusion 
by offering the ball, thus coloured, for examination. 
When it is returned, it is offered to a second person, 
but this time “vanished” by means of the tourniquet, 
the performer remarking: “Ah! You were not quite 
quick enough. This experiment makes the ball ex¬ 
tremely volatile.” 

Hartz was accustomed to bring the trick of the 
Crystal Balls to a finish after a somewhat different 
manner. On the table, at the outset, were placed a 
small jug of milk, and a couple of tumblers. In a 
pochette he had a ball of what is called “opal” glass 
which is opaque, and milk-white. When he had 
completed the change of the ball from clear glass 
(which he did after the older fashion, wine, in a clear 
glass decanter, being used for the staining process) he 
proceeded once more to change the colour as follows: 
Having secured and palmed (in the right hand) the 
opal ball, he took one of the tumblers, and two-thirds 
filled it from the jug of milk. Then, taking the ruby 
ball between the fingers of the right hand (the opal 
ball being just below it), he made the movement of 
dropping the visible ball into the milk As a matter 
of fact, however, it was the opal ball that was dropped 
in, the ruby ball taking its place behind the fingers. 
Moving the glass round and round in the opposite 
hand “to let the milk soak in,” and thereby calling 
the general attention to the tumbler, he dropped the 
ruby ball into the profonde, and a moment later, pour¬ 
ing the milk into the second tumbler, showed that the 
ball had now become milk-white. 

I never saw Hartz perform this trick, but I believe 


New Miscellaneous Tricks 613 

that his working was in other particulars on the 
same lines as that of Robert-Houdin, described in 
The Secrets of Conjuring and Magic , p. 301, and in 
Modern Magic , p. 426. I myself occasionally adopted 
his “milk” effect by way of variation, but with a 
little addition of my own. I had both a black and 
a white shell, each vested. After staining one of the 
clear glass balls black I proceeded to make the other 
white, by dropping it into the milk as above described. 
I then asked the company wdiether they would prefer 
both white or both black, and made them so accord¬ 
ingly, using either the white or black shell, according 
to the colour demanded. The final change in either 
case w r as the transformation of a black ball into a red, 
by holding it over the candle as already described. 

I have discussed this trick at what may seem undue 
length, but it is one for which I have always had a 
special fancy, and which I invariably found to produce 
a brilliant effect. It is susceptible of almost any 
amount of variation, and it has the further recom¬ 
mendation that the needful apparatus is extremely 
portable. Indeed, to my own mind, it is the ideal 
of a sleight-of-hand trick. 


CHAPTER XIV. 


RECOLLECTIONS OF HARTZ THE WIZARD. 

JOSEPH MICHAEL HARTZ was born on the ioth 
J of August, 1836, at Liverpool, where his father, who 
was of Dutch descent, carried on business as a watch¬ 
maker under the name of Hart, the original family 
name having been anglicized by the dropping of the 
final “z.” It is a curious coincidence that three of the 
greatest wielders of the wand—Robert-Houdin, J. N. 
Maskelyne, and Hartz, should each have received his 
early training at a watchmaker’s work-bench to the 
great advantage, probably, of the mechanical side of 
their illusions. 

When the boy Hartz was about twelve years old, he 
chanced to witness one of Robert-Houdin’s perform¬ 
ances, and that accident determined the course of 
his whole life. From that moment, he used to say, he 
made up his mind to be a conjurer. His father was 
indulgent to the boy’s fancy, and enabled him to visit 
other performances of Robert-Houdin. He took care¬ 
ful note of the marvels he saw, and strove with all his 
might to discover how they were accomplished. It 
was a formidable undertaking, for the master magician 
guarded his secrets with the utmost care, and much 
of his apparatus was of an elaborately mechanical kind, 
depending largely upon electricity, a force of which, at 
that time, very little was known. 

614 


Recollections of Hartz 


615 


Nothing daunted, the youthful enthusiast worked on. 
His father encouraged his efforts, and allotted to him 
a special room by way of workshop. Here, one by 
one, he reinvented, after his own fashion, the marvels 
of the great French conjurer; and friends were occasion¬ 
ally admitted to his sanctum to see him exhibit them. 
He was naturally a timid boy, and by no means one 
to shine in company; but in the pursuit of his beloved 
art his shyness was forgotten, and he speedily acquired, 
within a very limited circle, a high reputation as an 
amateur magician. 

At the age of seventeen he gave his first public show 
which took place at the Myddelton Flail, Islington. 
For the next few years he seems to have filled only 
casual engagements. Early in 1858, however, the 
family migrated from Liverpool to London. It hap¬ 
pened that for a time the family lodged in the same 
house with a young man named Henri Herrmann, 
who was himself a professional conjurer. The two 
young wizards naturally fraternized. A Hungarian 
performer, by name Kratky Baschick, a friend of 
Herrmann’s, happened to be then running a magical 
and musical entertainment at the Adelaide Gallery, in 
the Strand. Herrmann and Hartz were on the “free 
list, ” and Hartz gained new opportunities for studying 
the art of deception. A little later Herrmann obtained 
an engagement at Cremorne Gardens, and Hartz, with 
his father and brother (for all were more or less bitten 
by the magic microbe) went almost nightly to witness 
his performance. 

Up to this time Hartz had been little more than a 
clever amateur, but in the early part of 1859 his father 
made up his mind to launch him as a professional 


6i6 


Recollections of Hartz 


magician. In doing so, however, it was felt that some 
decided novelty—something hitherto unattempted, was 
desirable, and Hartz determined upon an entirely new 
departure in the way of apparatus. In spite of Robert- 
Houdin’s simplification of his stage furniture, the 
conjurers of that day were still largely indebted to the 
cabinet-maker and the tinsmith; and metal covers and 
false bottoms figured largely in their performances. 
Hartz determined that all his paraphernalia should be 
of glass; and with the assistance of his father and 
Herrmann, both clever mechanics, he set to work to 
manufacture appliances of that material. It was a 
difficult task, but it was successfully accomplished, and 
in the same year Hartz (who then first reassumed the 
final “z” of the family name), in his turn made his 
appearance, with a performance of “Crystal Magic” at 
the Adelaide Gallery. The programme included the 
Crystal Cashbox, Bell, and Glove Column. These, as 
the reader is no doubt aware, were adaptations from 
Robert-Houdin’s programme. The Crystal Bell and 
Cashbox were probably no worse and no better than 
the originals, but in the case of the Glove Column 
Hartz improved considerably on his model. The per¬ 
formance was well received, and was repeated daily for 
some weeks. An engagement at the Crystal Palace 
followed, and lasted three months. 

A more important step in the young wizard’s career 
was an engagement, in March, 1861, to appear at the 
Hanover Square Rooms. The performance was of two 
hours’ duration, and elicited a chorus of praise from 
the London Press. The name of the entertainment 
had by this time been altered to that of “Mons. 
Hartz’s Transparent Illusions,” the performer in his 


Recollections of Hartz 


617 


“ patter ” expressing a hope that though the spectators 
could see through his apparatus, they would not be 
able to see through his tricks. In the Morning Herald 
of 8th June, 1861, a notice appeared as follows: 

“M. Hartz’s performances are unquestionably of 
a most captivating and accomplished character. By 
means of his transparent or glass apparatus he performs, 
with most wonderful volatility and artistic magical 
skill, a succession of indescribably clever experiments; 
those of the ‘column and glove/ ‘electric money/ 
and ‘incomprehensible canary/ accomplished without 
apparent apparatus or confederacy, being perhaps 
unparalleled performances in the way of legerdemain 
and illusion. While the entertainment throughout is 
of the most brilliant description, there is no mistake 
and no deception, as to its scientific dexterity and 
talent. ” 

A remarkable specimen of “journalese,” but this 
by the way. The other London papers were equally 
emphatic in their praise of the entertainment. 

A month or two later Hartz paid a visit of some 
weeks to his native place, Liverpool, where his per¬ 
formances were received with the greatest enthusiasm. 
At the close of the same year he gave a series of per¬ 
formances at Edinburgh. He had arranged for a 
fortnight, but his success was so great that it was found 
necessary to continue for a third week. The gross 
takings during this visit are said to have amounted to 
over a thousand pounds, a striking testimony to the 
attractiveness of the performance. 

Hartz’s repertoire , which in the earlier years of his 
career had been almost entirely based on that of 
Robert-Houdin, gradually assumed a more original 


6 i 8 


Recollections of Hartz 


character, as he began to give fuller play to his own 
inventive faculties. The handbill of a week’s per¬ 
formances at Leicester, in November 1864 (omitting 
merely formal matter), runs as follows: 

“ TEMPERANCE HALL, LEICESTER. 

Five nights only, 

Commencing Monday , November 21st , 1864. 

MONS. HARTZ, 

From the Hanover Square Rooms and St. James’ Hall, 
London, surnamed 

THE CRYSTAL ILLUSIONIST! 

Whose truly marvellous performances have excited the 
wonder and admiration of the most scientific men of Great 
Britain, will have the honour of giving his 

Matchless Entertainment of Necromantic Wonders !!! 
Consisting of really unbelievable 
Feats of Natural and Physical Magic 

Compared with which everything before attempted sinks 
into utter insignificance; the greatest novelty being the use 
of only splendid 

GLASS APPARATUS, 

And accomplishing the most difficult illusions 
In the midst of the Audience . 

Among other astounding and scarcely credible illusions will 
be introduced the incomparable and original feat of 

Making Every Watch in the Room Strike the Hour, 

So as to be heard in the most remote part of the building, 
the performer being at a distance of many yards. 


Recollections of Hartz 619 

The INCOMPREHENSIBLE CANARY and 
BIRD CAGE. 

The CRYSTAL PILLAR and GLOVE, 

And at each representation a 
Complete Exposure of the Spirit Mediums, 

The mystic writing on the paper pellets fully illustrated by 

THE AERIAL BELL, 

In the very centre of the visitors, acknowledged by all 
who have witnessed it to be unequalled in the annals of 
Legerdemain 

M. HARTZ begs to announce that, in addition to his 
own performance, he has at a great expense engaged the 
American artiste, 

Mr. HARRY VIVIAN, 

The celebrated Stump Orator , Delineator of Negro Character 
and Buffo Singer , 

Who will appear and give selections from his unrivalled 
Entertainment, introducing one of his side-splitting 

STUMP ORATIONS 

As given by him in New York for 400 consecutive nights.” 


It will be seen that Hartz, in his account of himself, 
does not err on the side of excessive modesty, but 
there was much more foundation for his self-sung 
praises than there is in the case of many equally 
laudatory announcements. 

Mr. Harry Vivian, above named, is the same gentle¬ 
man who is elsewhere referred to under his proper name 
of H. B. Lodge. Before settling down to commercial 



620 


Recollections of Hartz 


life, Mr. Lodge toured with Hartz for some months, 
and laid the foundation of a lifelong friendship with him. 
It is painful to have to confess that Mr. Harry Vivian’s 
brilliant performances in New York were mythical. 

In the year 1867, Hartz, accompanied by his younger 
brother, Augustus, who had for some time assisted 
him in various capacities, migrated to America. They 
jointly established, in Broadway, New York, a depot 
for the sale of conjuring apparatus, and speedily 
obtained a high reputation for the excellence of their 
manufactures. In his apparatus as in his manipula¬ 
tions, Hartz never would tolerate poor work. He 
charged high prices, but they were obtained without 
difficulty; each purchaser knowing that the goods 
supplied to him, whatever they might be, were sure 
to be the best of their particular kind. 

Meanwhile Hartz continued to perform, and with 
his usual success. The greater part of his effects 
were still for many years electrical, involving the use 
of complicated and cumbrous apparatus, but during 
his convalescence after a long illness, contracted by 
travelling in Jamaica in the rainy season, he turned 
his attention to the simplification of his methods, and 
the ultimate result was the substitution of two moder¬ 
ate-sized cases of apparatus for the two tons of stage 
luggage which had previously accompanied him on his 
journeys. One of the most material improvements 
was the invention of the mechanical hook [described 
in full on pages 68 to 73], which produced, in a sim¬ 
pler and more certain manner, the more important 
magical effects previously obtained by the aid of 
electricity. 

The date of the new departure, above mentioned, 


Recollections of Hartz 


621 


may be put at about 1877. About the same time 
Hartz, as part of his general scheme for producing a 
maximum of effect with a minimum of apparatus, 
conceived the idea of developing the well-worn trick 
of the Inexhaustible Hat into a modern miracle, as, 
in its later form, his Devil of a Hat really became. 
His aim was to develop the trick in two directions; 
first, to enormously increase the quantity of the articles 
produced; and secondly, to produce them under more 
difficult conditions—namely, on a stage so bare that 
it afforded apparently no cover for even the smallest 
object. 

A minute explanation of this unique trick will be 
given in the course of these pages. 

A popular entertainer nowadays is usually more 
or less of a globe-trotter, and Hartz was no exception 
to the rule. Of his many journeyings in America I 
have no record, but after his return to England, in 
1883, he toured largely, visiting not only the leading 
English towns and the Channel Islands, but the chief 
cities of France, Spain, Holland, Belgium, Germany, 
Denmark, Norway, and Sweden. He also visited Tunis 
and Algiers. 

His latest foreign tour, commencing in November, 
1901, and lasting till August of the following year, 
comprised visits to Amsterdam, Paris, Marseilles, 
Bordeaux, Lyons, St. Etienne, Dijon, Geneva, Lausanne, 
Lucerne, Zurich, Berne, and Munich. The latter part 
of 1902 was spent in London, where he filled engage¬ 
ments at the Paragon, the Croydon Palace, and the 
Cambridge Theatre of Varieties. In December of that 
year he started for what proved to be his last English 
tour, commencing at Bristol, and visiting Hanley, 


622 


Recollections of Hartz 


Belfast (the scene of some of his earliest triumphs), 
Barrow-in-Furness, Liverpool and Coatbridge, return¬ 
ing to London in February 1903. On the 28th of that 
month he gave a trial performance at the Palace Theatre. 
This would in due course have been followed by a 
regular engagement, but he was not destined to perform 
again. On the 12th of March he was taken ill, and 
grew rapidly worse, his malady proving to be Bright’s 
disease. He died on the 29th of June following, at 
Peckham, and was interred at Tooting Cemetery on 
the 4th of July. 

The many honours Hartz received from royal and 
other distinguished personages bear testimony to the 
effect produced by his performances. From President 
Diaz, in 1877, he received the Mexican Order of 
Merit; from the King of Spain, for a performance at 
Madrid in March, 1885, a diamond crown pin,—taken 
by His Majesty from his own cravat, and with his 
own hands placed in Hartz’s coat—and from the Bey 
of Tunis in April, 1885, a diamond star. On 30th 
August, 1886, at Bernstorff Castle, Copenhagen, he 
performed before the King of Denmark and the King 
of Greece, and received from each of them a gold 
medal in commemoration of the event. In the follow¬ 
ing month a third gold medal was presented to him 
by the Danish students at Copenhagen, amongst whom 
his performances always created an extraordinary 
amount of enthusiasm. In 1887 he received two more 
medals from royal hands, one in April from the King 
of Saxony, and one in May from the King of Holland. 

At Brussels, in 1884, he was engaged to give a private 
performance before the friends of the late Count 
Merode. The Count thought the amount demanded 


Recollections of Hartz 623 

(500 francs) exorbitant, and was not too favourably 
disposed towards the magician. On seeing the per¬ 
formance, however, he was so delighted with it that 
he voluntarily added to the fee a diamond pin of far 
greater value. This, in view of its history, was one 
of Hartz’s most cherished possessions. 

My own acquaintance with Hartz dated from 1883, 
in which year he returned to England from America, 
and thenceforth made this country his headquarters. 
For my introduction to him I was indebted to Mr. 
H. B. Lodge, of Huddersfield (the “Harry Vivian” of 
the Leicester programme); himself a clever amateur 
conjurer and musical entertainer, but best known in con¬ 
nection with his sensational exposure, in October, 1876, 
of the sham medium, the “Reverend” Dr. Monck. 

Hartz was a man who did not easily make friends, 
but devotion to magic formed a bond of union between 
him and myself, and almost from our first acquaintance 
he discussed his many inventions with the utmost 
freedom; an evening’s chat with him being usually 
followed, the next day, by some hours spent in making 
notes of his revelations. He gave me, from the first, 
full leave to make personal use of any of his secrets, 
only stipulating that I should not disclose them to any 
one else without his permission. At a later date 
(July, 1901) he generously removed this restriction 
save as to the Devil of a Hat, and some half-dozen 
other tricks which he thought it possible that he might 
himself again perform publicly. 

I have elsewhere called Hartz “a conjurer for con¬ 
jurers,” and I know no phrase which more precisely 
indicates, so far at any rate as his later days are con¬ 
cerned, at once his strength and his weakness. He 



624 Recollections of Hartz 

was a great conjurer, but a poor showman. He had 
neither the presence, the voice, nor (be it said in a 
whisper) the genial impudence which are half the stock- 
in-trade of the successful entertainer. Like the pro¬ 
verbial Scotchman, he “joked with difficulty.” His 
“patter” had a laboured air, and he lacked that easy 
bonhomie which at once puts David Devant or Howard 
Thurston on good terms with his audience. 

On the other hand, the working of his tricks, from 
a technical point of view, was as perfect as it was 
possible to make it. He was primarily an ‘ ‘ apparatus ’ 1 
conjurer, and in general mastery of sleight of hand he 
was surpassed by many performers of far less note, but 
his manipulation of a given trick left nothing to be 
desired. He possessed that most valuable of artistic 
qualities, “an infinite capacity for taking pains. ” And 
as a consequence, his nerve was unfailing. He was 
never haunted by the dread of a slip, because he never 
made one. But, popular though he was, his work 
was in one sense too good for the public. An expert 
would appreciate the severe conditions which he im¬ 
posed upon himself; the ingenuity of his contrivances, 
and the neatness of his manipulation. But an ordinary 
audience is not composed of experts, and a conjurer 
who habitually goes out of his way to make his tricks 
more difficult is like the over-conscientious actor who 
blacked himself all over when he played Othello. He 
may find his reward in an inner sense of artistic com¬ 
pleteness, but the public look only at the broad effect 
produced, and neither recognize nor care for the fact 
that the performer has produced it (as was the case 
with Hartz) in the teeth of a number of self-created 
difficulties. 


Recollections of Hartz 


625 

His great Hat Trick, now to be described, is a forcible 
illustration of this. 

A DEVIL OF A HAT. 

Among the many wonders of the magic art, not 
the least surprising is the fact that a single trick, in 
the hands of the same performer, should have held the 
stage as permanent attraction for nearly forty years. 
Such, however, was the case with Hartz’s great Hat 
Trick, known abroad as Le Chapeau du Diable , and 
in England as A Devil of a Hat . The marvel is the 
greater, because at the very outset the trick was not a 
new one, but was merely a highly improved version 
of one which, in a simpler form, had already been 
worked by magicians for half a century or more. 

Who was the first person to use a hat for producing 
something from nothing it is at this date impossible 
to say, but it is known that one was so used by Comte, 
court conjurer to Louis XVIII. From that time 
(about 1814) to the present the average wizard seems 
to have found it almost as difficult to keep a hat trick 
out of his programme as Mr. Dick did to keep King 
Charles’s head out of his Memorial. Nor is it sur¬ 
prising that such should be the case. The recommenda¬ 
tions of the hat, as a magical fancy repository are 
many. It is an article of everyday use, inspiring no 
suspicion, and to be found in every company. Fur¬ 
ther, its shape is convenient; its brim affording just the 
cover needed for the introduction of any moderate 
sized article. With a servante behind his table, the 
merest tyro can “load” a hat; a crook of the finger, 
and the thing is done. And the load may be almost 


40 


626 


Recollections of Hartz 


anything you like. I myself (more years ago than I 
care to remember) scored a brilliant success by pro¬ 
ducing, at an impromptu show in a country village, 
a turnip, of prize dimensions, from a hat which hap¬ 
pened to be the property of a well-known and popular 
farmer. The familiar cannon-ball might have fallen 
flat (Hibernically speaking), but this bit of local colour 
brought down the house. 

In the cases above referred to, however, the trick 
was but one item of a programme; an affair of, at 
most, two or three minutes, and all over! It was 
reserved for Hartz to elevate hat-production from a 
casual effect into a complete act, and to perform it 
under conditions and on a scale which rendered it a 
modern miracle. 

As a proof that I do not over-estimate the merit of 
the trick, I may quote the following letter, written 
to Hartz by Carl Herrmann, first and greatest of the 
name: 


“ Paris, August 2nd , 1884. 
“To M. Hartz, Le Sorcier Americain. 

“Permit me to express to you my profound admira¬ 
tion for your performance of Le Chapeau du Diahle y 
which I have witnessed several times, executed in 
a manner that I think is quite inimitable. I am 
astonished, for the first time in my life. Yours truly, 

“Herrmann.” 

Many expressions to a similar effect by judges 
scarcely less competent could be cited. It is to be 
observed, by the w T ay that when the above letter was 
written the trick was far less perfect than it afterwards 


i 


Recollections of Hartz 


627 


became; the ultra-marvellous finale (the production, 
without any intermediate 11 load, ’ ’ of the two bowls and 
the bird-cage) being an addition of much later date. 

The appearance of the stage at the rise of the curtain 
was as shown in Fig. 233. There was a small centre 



Fig. 233. 


table, placed well forward, though I may here remark 
that the performer carefully avoided passing behind 
it at any stage of the trick. The only other furniture 
consisted of a little round table, used from time to 
time to rest the hat upon, and a couple of side tables, 
if they can be dignified by the name, being three feet 
long, but only six inches wide. The centre table had a 
shallow fringe round it, but these had none, and their 
tops (which were of white enamelled iron) were only 
half an inch thick. On the centre table lay a folded 
piece of green baize and a pile of some half-dozen card¬ 
board mats. On the little round table, which had a 
plain wooden top without fringe, was a square woollen 
cover, and beside this a block of blackened wood, about 
four and a half inches in length by two in breadth and 
one in thickness; curved inwards and padded along 
one of its longer edges. Its opposite edge was so 
shaped as to fit into a mortise cut in the table-top. 











628 


Recollections of Hartz 


When so fixed the block formed a rest for the hat, its 
object being to prevent this latter rolling off the table 
when laid on its side. With these exceptions, all was 
bare. There was not even a flower-pot to relieve the 
general nakedness. 

Under these difficult conditions the performer bor¬ 
rowing a hat, and showing it absolutely empty, pro¬ 
duced from it in succession, first, a number of silk 
handkerchiefs; not the flimsy twelve-inch squares 
which figure so largely in present-day magic, but 
honest bandanas or neck-wrappers of respectable size. 
Next, ten silver-plated pint goblets and a wig. Then 
seven cigar boxes, of the size to take fifty cigars. 
Then ten more goblets, a square silver cage containing 
a canary, and a shower of playing cards, in itself 
enough to fill half a dozen hats. Next, a hundred 
yards or so of sash-ribbon, four inches wide, seven 
lanterns, with coloured glass sides, each containing a 
lighted candle; and lastly, a doll representing a life- 
sized Japanese baby, and a lady’s crinolette or “dress 
improver.” This, in the days when actual crinoline 
was worn, was a complete skeleton petticoat of the 
kind then used. At a later date an “improver” of 
more modern fashion was substituted . i 

The production of the whole occupied tw r enty-two 
minutes; the performer during the whole of that 
time never once leaving the stage. The articles as 
they were produced were deposited on one or other 
of the tables, every available inch of space thereon 
being occupied by them at the close of the trick. 

1 The above description and the explanations which immediately 
follow apply to the trick as I first saw Hartz perform it. The reader 
will find it interesting to follow its gradual development from this to 
its later and still more elaborate form. 


Recollections of Hartz 629 

Where did the articles come from, and how did they 
get into the hat? The ordinary spectator could not 
make even a guess at the answer. There were no 
abnormal bulges about the performer’s clothing to 
suggest that even the smallest part of them was 
concealed about his person; and his movements were 
confined strictly (so the keenest outsider would have 
said) to the extraction of the contents of the bewitched 
headgear. Nine-tenths of the spectators would have 
been prepared to make affidavit (so far as they could 
trust the evidence of their own eyes) that he never 
put anything into it. The expert, familiar with the 
working of the Hat Trick in its simpler forms, might 
once in a while detect the moment of a ‘Toad,” but 
even to the expert there were many points about 
Hartz’s version that could only be guessed at. Some 
practical details, small but important, were outside 
the range of guess altogether. Hence, no doubt, the 
fact that notwithstanding the prevailing tendency of 
performers to imitate a proved success, Hartz was 
left in exclusive possession of the trick, as he had 
elaborated it. In this particular 

“ None but himself could be his parallel.” 

At an early stage of my acquaintance with Hartz, 
he gave me minute particulars of the Hat Trick 
as he then worked it. I took copious notes of his 
disclosures, and I saw him work the trick on many 
occasions, the first being at the Trocadero (then a 
music hall) in April, 1883. This was, I fancy, his 
first public appearance after his return from America. 
The complete appliances for the trick, on his death 


630 


Recollections of Hartz 


in June, 1903, came into my possession, and being 
now freed from any obligation to secrecy, I am in a 
position to give a complete and reliable exposition of 
its working. For particulars of his latest improve¬ 
ments, including the bewildering concluding effect, 
I am indebted to Miss Ada Grist (Hartz’s musical 
accompanist and trusted general assistant during the 
last sixteen years of his life), who kindly supplied 
me with much valuable information. 

The articles used in the act were as follow:— 

1. The centre table. The top consisted of a couple 
of deal boards, two feet six inches long by nine inches 
wide and not quite an inch thick, hinged on the under 
side so as to fold together for packing. When opened 
out for use, each end rested on a cross-piece, eighteen 
inches long by two wide, through which the legs were 
screwed into metal plates, one at each corner. The 
legs were rather long, the total height of the table 
being just three feet. The cover, which was of “box” 
shape, so as to drop over the top", was of black calico, 
trimmed with plain woollen fringe of the same colour, 
six inches deep. The upper edge of this fringe was 
level with the table-top, the calico falling down behind 
it. 

At a later period a narrow shelf was added, for the 
accommodation of the champagne bottles which thence¬ 
forth formed part of the “production. ” This extended 
across the back of the table at a height of five inches. 
It was supported at each end by a piece of strap-iron, 
bent into a suitable shape, and fitting into a metal 
socket. Later still, at the back of this shelf, a red 
plush curtain, nine inches deep, was fixed. This 


Recollections of Hartz 631 

served as an effective background for the bottles, and 
also prevented their accidentally falling off to the 
rear. Behind this again, in the centre, rose a brass 
upright supporting a small oblong bracket, which at 
one time served as a resting place for a skull, which 
at one period was made to rise automatically from the 
hat, and when this was abandoned in favour of other 
effects, was occupied by the last 
of the lanterns. (Fig. 234 shows 
the appearance of the table in 
this its altered condition.) 

Two of the most important 
“loads” were obtained from the 
front of the centre table. The doll 
(with which was tied up the 
crinolette in a compressed con¬ 
dition) was suspended under the 
table near the left-hand corner. 1 
It hung by a loop, which was 
passed over the outer end of a 
small bolt, of the kind known 
to mechanics as a “necked” bolt. 

This was kept “shot” until the last moment and was 
drawn back by a cord terminating in a ring on the 
surface of the table, just in time to release the load 
for use. That portion of the table-cover which hung 
down in front of the load was slit vertically, so as to 
offer no impediment to its passage. 

Near the opposite corner of the table-top was an 
oblong wooden box or case, open at the end facing the 
spectators, for the reception of the “bird-cage,” which 

I When “right” or “left” is mentioned, the side answering to 
that description from the spectator's point of view is intended. 































632 


Recollections of Hartz 


was one of the later additions to the trick. This latter 
was seven inches in height, and in plan five inches one 
way, and four and a half the other. Its sides were rigid, 
but the bottom could be pushed up to within about an 
inch and a half of the top, the space left vacant below 
it affording accommodation to fifteen packs of cards. 
These were arranged, one upon another, in two columns 
with a blackened tin plate at the bottom. All was 
kept snug by a piece of black braid round the cage, 
passing over each side, and tied in a bow at the top. 
The cage, thus loaded, with a living canary bird in the 
upper portion, lay on its side bottom outwards, in the 
wooden case above mentioned (C in Fig. 238), the calico 
behind the fringe being cut so as to form a flap just 
large enough to allow it to pass outwards. Cut in the 
table-top, immediately above the medial line of the 
cage, was a longitudinal opening, six inches long and 
finger-wide, terminating at its outer end just short of 
the front edge of the table. In the table-cover was 
a slit to correspond. 

The only specialities of the little round table were 
the space cut in the top to receive the hat-rest before 
mentioned, and a pin-point projecting from the edge 
which in use was turned towards the spectators. The 
object of this point will be presently made clear. 

The two side tables, which have already been 
described, were absolutely devoid of mechanism or 
preparation. At a later period in the history of the 
trick, a circular bracket supported by a light wire 
arch, was added over the centre of each. To the lower 
end of one of them, a hook was added. 

The lanterns, seven in number, were circular, with 
dome tops, and fitted one within another, the outer- 


Recollections of Hartz 


633 


most measuring six inches in height by five in diameter. 
The framework was of metal; the sides professedly of 
glass, but actually of coloured mica. One side of each 
lantern was open; the openings, when the lanterns 
were “ nested,” coinciding, and so giving access to all 
the interiors simultaneously. They were all, save the 
innermost, bottomless; the sockets for the candles 
(which were of the miniature sort used for Christmas 
trees) being in each case carried on a short wire arm. 
The outermost lantern had on one side of its opening 
a tube holding a silent match, and upon the other 
a piece of the material on which such matches are 
struck. The wicks of the candles were rendered more 
inflammable by being moistened with turpentine so 
that by merely passing the match over them all, seven 
could be lighted simultaneously. Each lantern had a 
circular opening at top, beside which was a ring, fold¬ 
ing down flat at pleasure. 

The seven lanterns, duly nested, were deposited, 
upside down, in a pocket made across one corner of a 
small square table-cover; in appearance a duplicate of 
that already mentioned as lying, at the rising of the 
curtain, on the round table. This was placed till it 
was needed on a chair just behind one of the wings. 
The pocket, which corresponded in shape with the 
inverted lanterns, had an opening at its smaller end, 
through which the performer could take hold of the 
rings above mentioned. The lanterns, by the way, 
were held firmly together by a piece of braid, tied round 
the bases of the rings. 

The handkerchiefs used had no speciality save that 
they were slightly graduated in size, ranging from 
twenty-four to thirty inches square. In preparing 


634 


Recollections of Hartz 


for the trick, they were laid one upon another, the 
largest undermost; and then, folded in four and twisted 
into a convenient shape, placed in the performer’s left 
coat sleeve, just above the cuff, the centres outwards. 

The cigar boxes were of pasteboard covered with 
paper grained in imitation of wood, and were con¬ 
structed on the same principle as the familiar “reti¬ 
cules,” the ends folding inwards, and allowing the box 
to collapse until the proper moment, when a pull upon a 
loop of narrow ribbon expanded it to its full dimensions. 
Seven of these, pressed flat, and held together by a 
piece of braid, were stowed in the first instance under 
the left breast of the performer’s coat. 

The ribbons, rolled, and packed into an open- 
mouthed bag or pocket of green baize, just large enough 
to contain them, were laid at the outset just behind the 
large piece of similar baize already mentioned as lying 
folded upon the centre table. When, at a later stage 
of the trick, this was picked up in order to be spread 
upon the floor, the roll of ribbons was deftly transferred 
to the inside of the wig, and with it placed upon one 
of the side tables. 

The goblets were of burnished nickel, with bottoms 
complete. Each had a wire rim, to facilitate its 
separation from the rest when necessary. A couple of 
loads of these, each ten in number, were packed in 
black calico bags and carried by the performer in 
pockets shaped to receive them, one behind each 
trouser-leg, in the position usually occupied by a 
pochette. These pockets, made specially strong, were 
lined with silk, in order to minimize friction. In the 
innermost of the set of goblets intended to be first pro¬ 
duced, was stowed away the wig. 


Recollections of Hartz 


635 


I may here mention that the hat used, though 
professedly borrowed, was in reality the performer’s 
own property. The only reason for this was that for 
the purpose of the trick a hat of large size was essential. 
If Hartz had allowed himself to depend upon borrowing, 
the hat offered would often have been too small to 
allow of the introduction of the larger objects. He 
therefore made things safe in this respect by having a 
suitable hat handed up by a member of the orchestra, 
or some friend among the audience with whom it had 
been ‘ 1 planted. ’ ’ As there was nothing particular about 
it, except its size, the arrangement was not open to the 
usual objection to planted articles. 

I may further mention that the trick was of late 
years worked to a musical accompaniment, without 
patter. Hartz had perforce adopted this plan in his 
continental wanderings, from lack of acquaintance with 
the local languages, and found it to work so well 
that he continued it, unless by special desire, in 
England, speaking as little as possible. The trick in 
this shape went more rapidly, which was a distinct 
advantage. 

Hartz’s first proceeding was to take the cover off 
the little table, shaking it out carelessly, so as to 
show that there was nothing in it. He then, as if 
merely to get rid of it, stepped aside and made a pre¬ 
tended attempt to hang it on a projection of the wing. 
It fell down on the floor, and was thereupon picked 
up, drawn out of sight behind the wing by the hand 
of an (unseen) assistant, who then pushed a chair from 
behind into view, and laid the cover (really another 
with a pocket containing the lanterns) upon it. Mean¬ 
while, Hartz returned to the little table, and casually 


636 


Recollections of Hartz 


showing the hat-rest, fixed it openly in the space 
prepared for it in the table-top. 

This done, and the hat having been “ borrowed, ” he 
showed, in the first place, that it was unmistakably 
empty. He then proceeded, resting it on the little 
round table, to turn up the leather lining, and in so 
doing drew down into it from his sleeve the bundle 
of handkerchiefs. Professing to find the hat some¬ 
what shallow, he proceeded to look into the cause, 
which he found to be the presence of the handker¬ 
chiefs. These he did not at once completely remove, 
but drew out portions of them so as to hang over the 
brim of the hat, right, left, and middle, towards the 
spectators. Under cover of these and of the hat itself, 
he, with his right hand, got the cigar boxes from under 
his coat, and after holding them behind the hat for 
a moment or two, loaded them in. Then, changing his 
position so that his left side should be to the rear, he 
got the nest of goblets from the pocket on that side, 
let them rest temporarily behind the hat, and presently, 
under cover of the continued production of the hand¬ 
kerchiefs, loaded in these also. The handkerchiefs, as 
finally drawn out, were laid across one of the side 
tables, hanging down more or less from it. 

The next item to be produced was the wig, which, 
it will be remembered, was stowed within the nest of 
goblets. This was, in the first instance, thrown on the 
floor, but was afterwards picked up, and placed for the 
time being, on the centre table. Next followed the gob¬ 
lets themselves, which at the period I am now speaking 
of were ranged along one of the side tables. The pro¬ 
duction of these was single-handed, the hat being held 
in one hand and the goblets taken out with the other. 


Recollections of Hartz 


637 


Next came the cigar boxes. This very effective item 
was discarded in Hartz’s later performances, in order 
to enable him to state, with truth, that not a single 
article of a collapsible nature was used in the trick. 1 
The alteration is characteristic of the man. Most 
conjurers are content if they deceive the public and 
regard any means of doing so as legitimate, so long 
as the illusion is complete. Hartz aimed higher. 
His ambition was to puzzle the expert as well as the 
outsider—to do something that no one else could 
do—and to that end he deliberately went out of his 
way to make the conditions of his performance as 
difficult as possible. From the mere “showman” point 
of view, such a course was a foolish waste of energy. 
One cannot, however, too highly admire the artistic 
feeling which prompted it, and which was the secret 
of the perfect finish of all Hartz’s performances. 

A movement towards the centre table enabled the 
performer to load into the hat the second set of goblets, 
which he placed on this table. 2 In order to make 
room for them, he took up the piece of green baize 
which has been mentioned as lying on that table, and 
moved it aside; in so doing transferring the roll of 
ribbons from it into the wig, which lay close beside it. 
Midway in the production of the goblets he appeared 
to notice that the nap of the hat was ruffled. To set 
matters right, he picked up the wig and smoothed the 

1 Curiously enough, he retained till a comparatively late period the 
dress-improver, which was obviously compressible, but this he justified 
on the ground that it was an article of every-day use, and not specially 
made for conjuring purposes. 

2 After the coloured goblets had been added to the trick, these were 
placed upon the side tables, and the metal goblets wholly upon the 
centre table. 


638 


Recollections of Hartz 


hat with it, under cover of this very natural action 
introducing the roll of ribbons. Finding, apparently 
that two or three more goblets still remained in the 
hat he made further room for them on the table by 
removing the green baize altogether, and spreading it 
upon the stage, in readiness for the subsequent pro¬ 
duction of the cards. He then returned to the table 
and placed on it the remaining goblets. The placing 
of the last one brought his right hand (the hat being 
held in the left) just over the pile of mats. He picked 
these up, and, showing each as he did so, laid them on 
different parts of the table answering to the intended 
positions of the lanterns. The confiding spectator 
never suspected that in picking up the mats (which, 
I may remind the reader, were laid just over the bird¬ 
cage), the performer’s middle finger, dipping down 
through the slot in the table, had pushed the bird-cage 
into the hat, held in readiness to receive it. The action 
was so easy, and the effect so well disguised, that a 
spectator, even knowing the manner and the precise 
moment of the load, could not claim to have actually 
seen the operation. 

The cage and bird were next produced. The braid 
being untied, the mere act of lifting the cage out of 
the hat caused the bottom to sink by its own weight 
into its proper position, carrying down with it the 
perch and seed trough; the cards naturally remaining 
behind in the hat. The cage, in this new condition, 
might be freely handed for inspection, as on all sides, 
save the bottom, it was perfectly rigid. The playing 
cards were next produced. This was done by the per¬ 
former holding the hat with both hands, and shaking 
them out by a succession of jerks; causing them to 


Recollections of Hartz 639 

overflow the brim and to fall upon the outspread 
baize, where in a scattered condition, they appeared 
equivalent to many times the bulk of the hat. 

It will be remembered that just previous to the 
“cage” load, the roll of ribbons had been introduced 
into the hat. These were now paid out yard by yard on 
to the little round table, and as they appeared likely to 
increase indefinitely it became necessary to provide 
for their accommodation. For that purpose the per¬ 
former fetched the table-cover from the chair at the 
wing and laid it over the table, with the pocket con¬ 
taining the lanterns on the side remote from the 
spectators, who naturally assumed the cover to be the 
unprepared one they had previously seen. The little 
point (above referred to) in the edge of the table, 
catching the cloth, prevented its being dragged off by 
the weight of the lanterns. When the ribbons had all 
been brought out, the performer gathered up the cloth 
by the four corners, and made a pretended attempt to 
put the whole back into the hat. He naturally failed 
to do so, the ribbons alone, in their unrolled condition, 
forming a mass about five times as big as the hat, but 
under cover of the make-believe attempt he took hold 
of the rings of the lanterns (through the hole in the 
pocket) and gently lowered them into the hat. The 
next step was to light them by means of the match 
provided for that purpose; after which they were pro¬ 
duced one by one, and deposited on the centre table, 
on the mats placed, as already mentioned, in readiness 
to receive them. 

The putting down of the last lantern brought the 
hand of the performer to that corner of the table under¬ 
neath which were the Japanese doll and crinolette. 


640 


Recollections of Hartz 


In depositing the lantern he drew back the bolt, the 
hat being for a moment simultaneously pushed forward 
under the over-hanging fringe. In drawing it back 
again, the load was brought away within it. The doll 
was produced in due course, and the production of the 
crinolette brought the trick to a termination. 

Even in its earlier form, as above described, the trick 
was sufficiently astonishing. But Hartz was never 
content with doing well if it was possible to do better, 
and he was always on the look-out for some further 
element of mystery. His first improvement was the 
substitution for the doll of a human skull, which rose 
automatically from the hat, the performer standing 
at a distance from it, and taking no part whatever in 
the operation. This, as also the production of the 
champagne bottles, to be presently noticed, was the 
outcome of a suggestion of my own, made in response 
to Hartz’s often-repeated request to give him an idea 
for some striking effect, no matter how impracticable it 
might seem. “Only give me an idea ,” he used to say. 
“If it is possible to work it out, I ’ll do it”; and he 
frequently sat up into the small hours of the morning, 
wrestling with some apparently hopeless suggestion. 
I should add that in both the above cases the working 
out of the idea was exclusively his own. 

The skull (an excellently modelled imitation in 
papier mache) was suspended, in conjunction with the 
crinolette, under that portion of the table where 
the doll had formerly been, and was introduced into the 
hat in the same way. The performer placed the hat, 
after the load, on the little round table, and moved 
away from it to another part of the stage. Presently 
an uncanny grating sound called attention to the hat. 


Recollections of Hart z 


641 



Fig. 235. 


Rising by slow degrees, the skull came into view, as 
shown in Fig. 235. The performer took it out, and 
placed it on a raised bracket 
over the centre table. The 
production of the crinolette 
followed, and, as before con¬ 
cluded the trick. 

The automatic rising of the 
skull was managed in a very 
ingenious way. Fixed to the 
inside of the crown at top, 
and terminating in an oblong 
metal base, about four inches 
by six, at bottom, was a rack 
and pinion arrangement, hav¬ 
ing an upward and downward movement to the extent 
of four inches. The pinion was in connection with a 
spring-barrel which forced it normally upwards, into 
the position shown in Fig. 236. 
The skull, however, yielded 
to gentle downward pressure, 
and when it had reached its 
lowest point, as in Fig. 237, 
could be there arrested by 
pressing back a lever, the end 
of which projected a quarter 
of an inch or so above the 
cranium, in the region popu¬ 
larly ascribed to the bump of 
veneration. Under these cir¬ 
cumstances, the base was not 
noticeable, and it was in this 
condition that the skull was loaded into the hat. A 



Fig. 236. 


41 









642 


Recollections of Hartz 


brass eyelet, close to the end of the lever before men¬ 
tioned, served to suspend it under the centre table till 
needed. 


The skull once fairly in the 
hat, a forward push of the 
lever started the rising 
movement. Before taking 
it out of the hat, Hartz 
pressed the skull down again 
to its lowest point, prevent¬ 
ing its again rising by push¬ 
ing the lever back to its 
original position. In placing 
it upon the bracket designed 



Fig. 237. 


to receive it, he took care so to handle it that the 
base should not be seen. 

A further improvement was the production (in 
addition to the metal goblets) of eighteen (professedly) 
glass goblets, coloured ruby and green alternatively. 
Twenty metal goblets were still produced, but a set 
of smaller size was used, the whole twenty now form¬ 
ing a single load. These were carried in the pocket 
behind the thigh on the left side, a pair of baby’s shoes, 
stuffed into the innermost, giving the performer an 
opening for a mild joke (at a later period merely in 
dumb show) at the expense of the supposed owner 
of the hat. These goblets, when produced, were all 
placed on the centre table. The transparent goblets, 
which were of large size, were, in the final form of 
the trick, made of coloured celluloid, other materials 
previously tried having proved unsatisfactory. Similar 
goblets, of smaller size, have now for some time past 
been procurable at the conjuring depots, but Hartz 




Recollections of Hartz 643 

was unquestionably the first performer to use celluloid 
for this purpose. 

This set of goblets, eighteen in number, was placed 
in the pocket behind the right thigh, and were loaded 
into the hat as the second set of metal goblets had 
formerly been. The wig was now placed in the inner¬ 
most of these, with a second half-dozen silk hand¬ 
kerchiefs packed in on the top of it. These were 
also produced in the course of the trick. 

The production of pint champagne bottles (ten in 
number, and to all appearance full) was a still later 
addition. The reader, familiar with the wiles of the 
conjurer, will naturally suspect that they were not 
of glass, but of some more manageable material, and 
that they were somehow packed one within the other. 
But at the very outset he is confronted by a serious 
difficulty. The expedient of “nesting” is only practi¬ 
cable with articles appropriately shaped, and having 
no inconvenient excrescences. Now the bulging cork 
of a champagne bottle would seem to be an insuperable 
obstacle in the way of its being so treated. Most men 
would have got over the difficulty by suppressing the 
corks, and producing admittedly empty bottles. This 
would have been quite good enough for the public, 
but it was not good enough for Hartz. Nothing short 
of bottles with corks complete would satisfy him. 

His solution of the problem was as simple as it was 
ingenious, though it was not arrived at without much 
cogitation. The bottles were of thin copper, coloured 
with a brownish-green lacquer, which, by artificial 
light, gave them the exact appearance of glass. They 
were duly labelled, and had the usual gold foil round 
their necks, but they were made corkless, the neck 


644 Recollections of Hartz 

tapering gently right up to the mouth. The supposed 
cork was in reality a metal cap, moulded to proper 
shape, duly wired and gilt, and slipped over the neck 
at the moment before production. The bottles were 
necessarily bottomless. The outer one of the nest 
was in other respects complete, but the rest were slit 
down one side from top to bottom, the edges over¬ 
lapping slightly, so that they might nest the better. 
Within the cavity of the innermost were the “corks.” 
The set of bottles was enclosed, necks inwards, in a 
tapering bag of black calico, with a piece of inch-wide 
elastic across its broader end. Thus enveloped, it 
was inserted, again necks inwards, in a narrow, open 
end box (B in Fig. 238) immediately under the table- 
top, midway between the two front legs. A ring, to 
which was attached a thin cord, was slipped over the 
smaller end of the bag. From this ring the cord 
passed outwards over the front edge of the table-top, 
and thence (through a hole made for that purpose) 
back to its under side; then again through a pulley 
and a couple of brass eyelets to the right side of the 
table, hanging down in a loop midway between the 
two legs. After putting the last of the metal goblets 
upon the table, Hartz gave this loop a pull, thereby 
drawing the ring forward and shooting the bottles 
into the hat. 

To separate and “cork” the bottles and produce 
them from the hat, it was necessary to use both hands. 
To facilitate this, the hat was laid on its side on the 
round table, with its crown towards the spectators 
the performer standing behind it, and the “rest” 
already mentioned keeping it in position. 

The last and crowning improvement was an altera- 


Recollections of Hartz 645 

tion in the finale. The crinolette was discarded, the 
concluding effect being the production in quick succes¬ 
sion, and without any intermediate load, of (1) a 
handsome blue porcelain bowl, spherical in shape; 
(2) a bowl similar in shape, but of clear glass, with 
goldfish swimming in it; and (3) an elegant circular 
bird-cage, containing a living bird, each one of the 
three objects being of such a size as to completely 
fill the hat. 

This cage, which was of metal throughout, and silver- 
plated, was of a construction familiar to conjurers, the 
bottom sliding up to within an inch, or thereabouts, of 
the top, in the centre of which was a circular door, 
working on a pivot, for the insertion of the bird. The 
bottom being pushed up as above mentioned, the side 
wires (each pair forming a loop like an elongated hair¬ 
pin) folded inwards upon it. In this condition (in 
which it was only an inch and a half deep) the cage 
was placed in a shallow box, open at the end facing 
the public, in the position under the table-top formerly 
occupied by the “doll” load. The act of pushing it 
in from the front took up the slack of a piece of black 
webbing, which crossed the mouth of the box in a 
vertical direction from its under side. From this 
webbing a cord was carried along a groove over the 
top of the table beneath the cover, and brought out 
just beside the left hinder leg. A pull upon this, 
immediately after the placing of the last lantern, 
drew the webbing taut again, and so pushed the cage 
forward into the hat. 

A glance at Fig. 238 will give a clearer idea of the 
construction of the table, as adapted to this later 
phase of the trick; A representing the receptacle for 


646 


Recollections of Hartz 


the cage last mentioned, with the webbing that brings 
it forward; B the resting-place of the champagne 
bottles; and C that designed to contain the square 
cage containing the cards. 

The production of the two bowls, as it was certainly 
the most startling, was also the most ingenious part 
of the trick. The supposed porcelain bowl was in 
reality of metal artistically enamelled in imitation of 
porcelain. It was bottomless, and so constructed that 



its lower half would open freely outwards, though it 
was normally kept closed by the action of very weak 
springs. The glass bowl, which was just a shade 
smaller, was inserted into the metal one from below. 
In this condition they were suspended under the left 
side of the table, midway between the two legs on 
that side. The manner of suspension was as follows: 
In the first place the bowls were held together by a 
shallow black calico bag covering the lower half of 
the outer one, and kept taut by a strap of broad elastic 

























Recollections of Hartz 647 

buttoned over the top. The lip of the metal bowl, 
which curved outwards, was then passed over two 
little metal supports (in effect flat hooks), which 
were screwed to the under surface of the table-top. 
A wooden “stop” prevented the bowl being pushed 
in too far. After the performer had placed the last 
lantern, and was moving away from the table, he 
made believe to notice that one of the lanterns was 
out of line with the rest. He stepped back to rectify 
this, and as he did so with the right hand, the left, 
under cover of his body, passed the hat for an instant 
under that side of the table, raised it under the tw T o 
bowls, and drew them away within it. 

The act of lifting the blue bowl out of the hat caused 
its movable sections to spread apart (leaving behind 
it the glass bowl, dragged through by its own weight), 
closing again the moment it w r as clear. The blue bowl 
having been exhibited and placed on its appropriate 
bracket', the glass one was next produced, the un¬ 
mistakable “no preparation” of this one naturally 
inducing the belief that the blue bowi was equally free 
from deception. 

The two bowls were placed one on each of the 
brackets before mentioned as being supported on wire 
arches over the two side tables. The production of the 
second cage followed. This was suspended from the 
hook under one of the side tables, and made a brilliant 
finish to the trick, the final appearance of the stage 
being as depicted in Fig. 239. 

I have perhaps been over prolix in my explanations, 
but I have been anxious to make them as complete as 
possible, partly as a tribute of respect to the memory 


648 


Recollections of Hartz 


of a great conjurer, and partly to prevent, so far as 
in me lies, a trick of such high artistic merit being lost 
to posterity for lack of adequate record. Those of my 
readers who have had the good fortune to see the trick 



Fig. 239. 


performed will testify that I have in no wise exag¬ 
gerated its effect. 

THE INEXHAUSTIBLE HANDKERCHIEF. 

This, otherwise known as the Mouchoir du Diable , 
was occasionally substituted by Hartz for the Devil 
of a Hat. They are of the same class, both being 
“ production ” tricks. In point of brilliancy there is 
little to choose between them. 

The Inexhaustible Handkerchief is an amplifica¬ 
tion of the familiar Fish Bowls trick, worked up, as 
was customary with Hartz, to the maximum point of 
effect, and expanded into a complete act. The hand¬ 
kerchief used was a neck-wrapper, or small shawl of 
figured cashmere, about four feet square. With this 










Recollections of Hartz 649 

as his sole visible apparatus, the performer produced 
in rapid succession: 

(a) A huge feather plume, three feet in length. 

(b) A glass bowl containing water and goldfish; 
the bowl being about eight inches in diameter, and 
supported on a metal foot. 

(c) A second plume. 

(d) A second bowl of same size as the first, also on 
a foot, but in this case wholly of glass. 

(e) A third bowl, all of glass, like the preceding one. 

(/) A fourth bowl, with metal foot. (Each bowl, as 

produced, was placed upon the centre table, the two 
plumes being stuck into holes, made for the purpose, 
in the front corners of the table.) 

(g) An electro-plated bowl, of specially large size, 
being twelve inches in diameter, and (including foot) 
nine inches in height. 

At this point the performer varied his effects by 
“vanishing” one of the glass bowls previously pro¬ 
duced, and then brought the trick to a conclusion by 
producing from the handkerchief a good-sized bird¬ 
cage with living birds. 1 

Before each production the handkerchief was shown 
empty. The mode of production of each article I 
proceed to describe. 

(a) The “plume” was in truth a bunch of plumes, 
three or four such being bound together so as to form 
one of abnormal size. This was placed at the outset, 
feather end downwards, in the performer’s left trouser- 
leg. To the stem end was attached a piece of thin 

1 The order of these effects was subsequently reversed, the cage 
being produced early in the trick, and the “vanish” forming the 
conclusion. 


650 


Recollections of Hartz 


string six inches long, with a brass curtain ring at the 
free end; also a two-inch length of flat black elastic 
webbing, in the opposite end of which a buttonhole was 
formed. After the plume had been bestowed within 
the trouser, the ring was hitched on to a dress hook, 
sewn just inside the breast-opening of the vest. The 
elastic was temporarily slipped over one of the brace 
buttons (so as to prevent the plume from rising up 
prematurely) and slipped off the button again before 
the plume was required for production. 

The performer, after showing one side of the hand¬ 
kerchief to prove it empty, crossed his hands in order 
to show the other side. This brought the right hand 
close to the left side of the vest-opening. The thumb 
being slipped within the ring the drawing of the hands 
back to their original position partially dragged the 
plume from its hiding-place, though still masked by 
the handkerchief. A slight gathering up of the proper 
corner of the handkerchief enabled the right thumb and 
forefinger to get hold of the stem of the plume, which 
was then, by a sidelong movement, drawn completely 
out of the vest, and in due course produced, after which 
it was inserted in its intended position at the corner of 
the table. 

( b ) The metal foot of the first bowl was in three 
parts, each on a hinge and so shaped as to fold up close 
against the bottom. When these were drawn away 
from it, they together formed a tripod; an ingenious 
arrangement of rubber springs enabling them to ac¬ 
commodate themselves to either position, and holding 
them securely therein. This bowl, covered with rubber 
in the usual way, was placed at starting under the left 
arm of the performer (kept in position by the pressure 


Recollections of Hartz 


651 

of the arm) and produced after the manner of the or¬ 
dinary fish-bowl, the foot being opened out before the 
handkerchief was removed. 1 

(c) The second plume was arranged and produced 
after the same manner as the first, save that its hiding- 
place was in the right trouser-leg, and that it was 
drawn out with the left hand. The performer, having 
produced it, threw the handkerchief temporarily over 
his left shoulder, and moved towards the centre table 
to place the plume in position, but it at first refused to 
stand upright, the hole for its reception being purposely 
made a trifle too large. At a second attempt, however, 
it was made to stand erect, being in fact stuck on this 
occasion into a hole of proper dimensions, close beside 
the first. Under cover of dealing with this pretended 
difficulty, the performer secretly got under the hand¬ 
kerchief the bowl used for the next production. This 
bowl, which was uncovered, was concealed in an open- 
end box just below the table-top, masked by the 
fringe which surrounded the table. 

(d) The bowl in this case was wholly of glass, but 
made in two portions; a dowel at the bottom of the 
bowl proper fitting into a corresponding cavity in the 
upper part of the foot. The bowl portion, with rubber 
cover, was carried in a semicircular pocket on the 
right side of the vest, the foot being lodged in a second 
pocket in the same side. The performer having got 
the bowl under the handkerchief, adapted the foot 
to it before he uncovered it, and then, grasping it by 
the stem, deposited it upon the table. So placed, there 

1 At a later date this bowl was produced from the front of the table 
under cover of the placing of the first plume; the bird-cage being got 
in like manner under cover of the placing of the second. 


Recollections of Hartz 


652 

was nothing about its appearance to suggest that it 
was other than an ordinary bowl or vase. 

(e) This bowl corresponded in appearance with 
the other one last described, but differed from it in 
the fact that it was cast all in one piece. The per¬ 
former was therefore enabled to bring it forward 
and to offer it for inspection, thereby confirming the 
spectators in the belief that the two bowls pre¬ 
viously produced were of the same unsophisticated 
description. 

(f) This bowl, which had a metal foot, and answered 
in appearance to (6), was slung behind the performer 
under his coat, and when released swung round to the 
front, after the method used by Robert-Houdin for the 
production of a similar bowl, as described by him in 
his Secrets of Conjuring and Magic. 

(g) After the production of the fourth bowl, the 
performer threw the handkerchief over a little round 
table, and picked it up again, bringing away beneath 
it a wire ring, twelve inches in diameter, which had 
previously lain, practically invisible, on the table. The 
wire, keeping the cloth extended in a circular form, 
naturally induced the spectators to imagine that there 
was another bowl beneath the latter. The performer 
made believe to be about to deposit this imaginary bowl 
on the table whence he had taken it, but apparently 
changing his mind, draped the cloth instead over a low 
stool resembling a music stool, with a deep top and 
solid-looking pillar. 1 

1 When Hartz performed, as he frequently did, with a piano instead 
of an orchestra, he was accustomed to use for this purpose the stool on 
which his lady accompanist had just previously been sitting; the most 
sceptical being thereby induced to believe that it was the ordinary 
everyday article. 


Recollections of Hartz 653 

On again raising the cloth the large silver-plated bowl 
was seen resting on the stool. 

The secret of this last effect lay in the stool itself, 
which was an extremely delusive article. A glance at 
Fig. 240, giving a back view of it, will make clear its 



Fig. 240. 


construction. The seat and the upper part of the pillar, 
on the side remote from the spectators, were hollowed 
out so as to receive the bowl; the pillar being in fact, 
for that portion of its height, a mere shell. 

The bowl, uncovered, was stowed away in the cavity 
thus formed. Under cover of lowering the imaginary 
bowl on to the stool, and draping the handkerchief 
around it, the actual bowl was lifted from its hiding- 
place and set, under the handkerchief, upon the stool. 
The wire ring settled down upon the brim of the bowl, 
where it was kept in position by three small projecting 
pins on its own lower edge, and so placed became again 
invisible. This bowl was then in due course transferred 
to the centre table. 






654 


Recollections of Hartz 


The bowl which was made to disappear was the 
glass bowl (i d ), which, it will be remembered, was in two 
portions. Lifting it by the stem, the performer placed 
it upon the stool whence the plated one had just been 
produced, and spread the cloth over it. Under cover of 
his manipulations, he got down from under his vest a 
cardboard disc, corresponding in size to the top of the 
bowl, and lowered it gently thereon. Again apparently 
lifting the bowl under the cloth, he brought it forward 
towards the spectators. Before moving away from the 
stool, however, he removed the upper part of the bowl 
and slipped it into the hollow seat, so that what he 
actually brought forward was the foot only, held in 
one hand, and the cloth, distended by the cardboard, 
held in the other, at an appropriate distance above it. 
Coming forward he invited some spectator to place his 
hand under the cloth and ascertain for himself that 
the bowl was still there. The person addressed did 
so, and feeling the foot, bore witness that such was 
the case. In moving back to the centre of the stage 
the performer dropped the foot into a profonde, and a 
moment later slipped the cardboard beneath the vest, 
and, shaking out the cloth, showed that the bowl had 
disappeared. 

The production of the bird-cage needs but little 
explanation. This was square, with rising bottom and 
folding sides, after the manner of the familiar “bird¬ 
cages from the hat, ” though of very large dimensions. 
This, in a folded condition, rested in a loading-pocket 
in the breast of the coat till needed. 

I have described the trick as I myself knew it. At 
a later date Hartz reproduced it with sundry altera¬ 
tions which doubtless made it, if possible, even more 


Recollections of Hartz 


655 


effective, but I never had the good fortune to see it 
in this amended form. I am informed, however, that 
the appliances used by the inventor, with his “ latest 
improvements, ” have passed into the possession of M. 
Servais Le Roy, by whom, it is to be hoped, this grand 
trick will sooner or later be reproduced, and in whose 
skilful hands it should lose nothing of its brilliancy. 

THE IMPROVED MONEY COLUMN. 

The expert reader must be prepared to find that a 
good many of the tricks I have yet to describe are, 
in general effect, identical with illusions with which 
he is already familiar, though differing from them 
in points of detail, or in the methods by which the 
desired result is produced. The explanation of this 
is twofold. In many instances Hartz was the pioneer, 
and the current version is an imitation (though not 
necessarily inferior) of his original. In other cases 
he himself borrowed the idea, but improved upon the 
working till it reached his own high standard of artistic 
completeness. The trick next following is an example 
of the latter class. 

Readers of More Magic may recall a trick therein 
described (p. 181) under the title of The Climbing 
Coin, wherein a borrowed florin is made apparently 
to climb up the face of a wooden column, and deposit 
itself in a box placed on the top. Hartz made impor¬ 
tant mechanical improvements in this trick. To render 
them intelligible, it will be desirable briefly to recall 
the construction of the original apparatus. 

The pillar, up which the coin climbs, is of polished 
mahogany, about nine inches in height, and in appear- 


656 


Recollections of Hartz 


ance as depicted in Fig. 241. It consists of a rectangular 
plinth (with a drawer in its upper portion) from which 
springs a square column, flat on top. The face of the 
column is recessed in such manner as to allow the up¬ 
ward passage of a florin, the woodwork 
overlapping the coin about an eighth of 
an inch on each side. In conjunction 
with the column is used a second mahog¬ 
any drawer, enclosed in a case of the same 
wood, about three inches in length by two 
and a half wide and one and a half deep. 
This is so constructed that when the 
drawer is placed in position and pushed 
fully home, a coin, previously concealed 
in a cavity above, is released by the 
opening of a hinged flap, and falls into 
the drawer. 

But to return to the pillar, which is 
the portion of the apparatus to which 
Hartz’s improvements ap¬ 
ply. The plinth, it should 
be stated, is a reproduc¬ 
tion, on a somewhat larger 
scale, of the familiar 
‘ ‘ Davenport Cabinet, ’ ’ 1 
being so constructed that when the appropriate 
drawer is inserted in its place and pushed home, its 
bottom, which is hinged to the forward edge, drops 
like a trap-door, allowing anything previously placed 
in the drawer (in this case the borrowed florin) to 
fall through into the hand of the person holding 
the pillar. The act of pulling the drawer out again 
1 Modern Magic, p. 195. 




Fig. 241. 














Recollections of Hartz 657 

raises the bottom to its original position. The coin 
which climbs up the face of the pillar is a dummy, 
which, till required, lies hidden at the foot of the 
recess up which it afterwards travels. A silk thread 
is attached to each side of the coin, covered by the 
overlapping woodwork, and the opposite ends of these 
threads are attached to a little leaden weight, which 
works up and down in a hollow shaft at the hinder 
side of the column. The shaft is at the outset filled 
with sand, on top of which the weight rests. When 
the performer desires that the dummy coin shall as¬ 
cend, he pushes in a little metal tongue projecting 
at the back of the pillar. This opens a valve, which 
allows the sand to trickle down, through the temporarily 
bottomless drawer, into the base beneath. The con¬ 
sequent sinking of the weight causes the coin to rise, 
finally passing out of sight behind the overlapping 
woodwork at top, professedly into the little box. 

This form of the apparatus is subject to the draw¬ 
back that a heap of sand accumulates in the plinth, 
and this being bottomless, the column cannot be lifted 
up without disclosing the sand. To meet this difficulty, 
it is usual to place the apparatus on a plate or tray, 
professedly in order to cut off all communication with 
the table, but in reality so that all may be carried 
away together. 

Hartz set to work to remedy this, which is obviously 
a weak point in the trick. His first step was to 
divide the apparatus into two parts, the lower being 
simply a “Davenport Cabinet,” capable of being used 
separately for all purposes for which such a cabinet 
is available. Its only speciality was that it had a 
square mortise on the top, into which the lower end 

42 


658 


Recollections of Hartz 


of the column could be fitted. This arrangement, of 
course, necessitated the mechanism for raising the 
coin being wholly contained in the column itself. 
The sand was accordingly stored at the outset in the 
upper half of the column, and when the valve was 
opened, trickled down into the lower half. This, 
however, limited the fall of the weight to half the 
length of the column, rendering it, under ordinary 
circumstances, insufficient to raise the coin the 
necessary distance. 

Hartz got over this difficulty in an extremely in¬ 
genious manner. The two threads were attached 
at one end to the back of the column, at top. They 
were then passed through two loops at the top of 
the weight, and thence over a wire bar crossing the 
inside of the column, in front, to their points of at¬ 
tachments to the coin. Under these conditions, a 
fall of one inch on the part of the weight lifted the 
coin two inches, and so in proportion. 

At bottom of the column there was a tin receptacle 
for the fallen sand. This could be removed at pleasure. 

For the benefit of the less instructed reader, I may 
briefly indicate the working of the trick. A florin is 
borrowed, marked, and deposited in the draw of the 
little cabinet. Ostensibly, it remains there, but actu¬ 
ally passes into the possession of the performer holding 
the cabinet. The column is now fixed on the top of 
the cabinet; and the little drawer-box, previously 
shown empty, is placed on the top of the column. 
The valve is opened, by pressure on the metal tongue, 
and a coin (professedly the coin) is seen to climb up 
the face of the column, and disappear. The little 
drawer-box is opened, and a coin (again professedly 


Recollections of Hartz 659 

the coin) is thence produced, and exchanged for the 
original before it is handed for identification. 

The following will be found a neat and easy way 
of effecting this change. The genuine coin should at tne 
outset be concealed in the right hand, lying upon 
the second joints of the two middle fingers. When 
the dummy coin has completed its ascent, take the 
little drawer box in the same hand, bringing it over 
the coin; the opening of the drawer being directed 
towards the wrist. Press the drawer home, and 
shake the box, to show by the sound that the coin 
has arrived. Then pull out the drawer in such a man¬ 
ner that it shall slide out over the concealed coin, 
which is then pressed by the fingers against its under 
side. Lay the outer case aside, and show the duplicate 
coin in the drawer, the position of the hand being as 
in Fig. 242. Turn over the drawer, and make the 



movement of tilting the visible coin into the left 
hand, but in reality secure it against the inside of 
the drawer by a quick movement of the thumb, and 
let the concealed coin slide out from beneath into the 
hand. 


THE MULTIPLICATION OF MONEY. 

Hartz was accustomed to work this trick in im- 



66 o 


Recollections of Hartz 


mediate sequence to that of the Shower of Money. 
So far as the main lines of the trick are concerned, there 
is nothing very novel about this working; but there 
are one or two little points of detail which may be 
interesting to the reader. 

The coins for this and other money tricks were 
carried by Hartz in “clips” of special construction, 
being slips of hard wood about three inches long by 
half an inch wide and a quarter of an inch thick to 
one end of which was riveted a piece of clockspring, 
as shown in Fig. 243. The free end of the spring im¬ 
pinged upon a little pad of wash leather, to make it 
noiseless in working. To the opposite end of 
the slip of wood was attached a leather brace 
end which in use, was passed over a button 
sewn near the lower edge of the vest, on the 
inside. For the purpose of the 11 multiplication ’’ 
trick, one such clip, holding five shillings, was 
suspended on the right-hand side, and another 
holding four shillings on the opposite side. 
The only other “property” used was a small 
cut-glass plate with a “star” pattern on its 
under side; the object of this being to make 
it somewhat less transparent. 

Fig. 243. Having borrowed a hat, the performer an¬ 
nounced that he should further like to borrow 
twenty or thirty sovereigns. Nobody volunteering to 
oblige him, he reduced his demand to as many 
shillings, but finally decided that it would save time 
if he collected them for himself. He accordingly 
“caught” them, three at a time, after the usual fashion 
of conjurers. At the close of this portion of the trick, 
he invited any spectator to step on the stage, and 





Recollections of Hartz 


661 


he would show him “how it was done.” Someone 
having been induced to come forward, he fulfilled this 
undertaking by “catching” once more the same three 
coins he had been using throughout, and dropping 
them into the hat. 

This done, after casually showing both hands empty, 
he took the glass plate in the left hand, and asked 
his volunteer assistant to count the coins from the hat 
on to the plate. When the number left in the hat 
v/as reduced to half a dozen or so, he remarked: “Come, 
I should think you can see at a glance how T many 
remain,” himself bending forward and looking down 
into the hat as if to note the number. Under cover 
of this movement he got into his right hand the five 
coins suspended on that side, and having done so, 
instantly transferred the plate to the same hand, 
holding it on the extended palm, under which circum¬ 
stances the coins beneath it were not visible. Then, 
as if changing his mind, he remarked that perhaps, 
after all, it would be better to count them to the end 
in the regular way; and this was accordingly done. 
After enquiring the number, and asking the assistant 
whether he was quite sure he had counted right, he 
poured the coins back into the hat, letting those in the 
hand fall in with them. He then asked for five of 
them back again, and “passed” these back into the 
hat with the rest, after the usual course of the trick. 

The coins having been once more counted out on the 
plate, and the tale found complete, he offered to repeat 
the trick without using the hat. Once more showing 
both hands empty, he asked the assistant to count the 
coins from the plate into his (the performer’s) right 
hand. Just as the last coin was reached, he got the 


662 


Recollections of Hartz 


four shillings from the second clip into the left hand. 
“Now, sir, please put down the plate, and bring your 
two hands close together.” The assistant complies, 
bringing them, naturally, palm to palm. “No, not like 
that,” says the performer bringing his own hands 
together in the same way (and so mixing the two 
sets of coins), “or how am I to put the coins in your 
hands? Hold them like this,” placing the hands 
together cupwise. 

The assistant again complying, the coins are poured 
into his hands. Once more the performer asks for five 
of them back, and professedly “passes” them with the 
rest. When the coins are counted, they are found to 
be one short, which one the performer proceeds to 
“find” after any manner he pleases. 1 

THE MYSTERIOUS ADDITION. 

This was worked by Hartz as part of the “business” 
of his Crystal Bell, which rapped out the figures 
of the total. This, however, as will readily be per¬ 
ceived, is but one of many possible ways in which the 
result might be indicated. The speciality of Hartz’s 
working was that the total announced was that of the 
numbers actually written down by the spectators, and 
not, as is more usual, that of other figures deftly 
substituted by the performer. 

The trick, as presently to be described, belongs to 
Hartz’s “mechanical” period, when he worked with 
the aid of an assistant, and when the regulation centre 
table, with servante, formed part of his stage furniture. 
On the table at the outset was a “card tripod, ” as 

1 For a particularly artistic version of this favourite trick, the reader 
is referred to Robert-Houdin’s Secrets of Conjuring and Magic , p. no. 


Recollections of Hartz 


663 


described in Modern Magic , p. 139, save that the 
cover was not shaped like that of a coffee-pot, as there 
indicated, but was flat, with a simple knob on top. 1 
The false top was left behind the scenes. 

The performer began by handing round the tripod 
and cover for inspection, remarking that as he should 
have occasion to use them presently, he should like 
everybody to be quite clear that there was “no decep¬ 
tion” about them. When they were returned, he 
handed out a small piece of paper, requesting that 
some spectator would write on it a number of three, 
four, or five figures, at his pleasure. The fact of this 
option being allowed served to convince those ac¬ 
quainted with the more usual form of the trick that 
the customary plan (the substitution of prearranged 
figures) was not employed. A second spectator was 
then asked to write a similar row underneath the 
first, and to fold the paper in four. Making a special 
point of the fact that, from first to last, he himself 
never touched the paper, the performer received it 
in a “changing ladle” (.Modern Magic , p. 358), and 
handed it to some gentleman for safe-keeping, with 
a request that he would hold it high above his head. 
This was done accordingly, the holder (unaware of 
the deceptive character of the ladle) never suspecting 
that what he actually received from it was merely a 
blank piece of paper, similarly folded. 

1 This is the preferable shape for card purposes, the raised cover, 
with a space below it, being only needed when some more bulky article, 
say a handkerchief, is to be vanished. 

This appliance is now usually made with a single leg, or pedestal, in 
place of the three legs of the older pattern. It is, therefore, no longer 
a tripod, and is now generally known as a card “table,” but for the 
sake of identification I refer to it by its original name. 


664 


Recollections of Hartz 


Having thus apparently placed the figures in in¬ 
dependent custody, the performer laid the ladle, as 
done with, on his table, and in so doing let the genuine 
paper fall on the servante. Thence, under cover of 
removing some piece of apparatus used in the last 
preceding trick, it was presently carried off by the 
assistant, who, after adding up the figures and making 
a note of the total, laid the paper against the under 
side of the false top of the card tripod, and on return¬ 
ing to the stage (to bring on the “bell”) privately 
placed the two together in position over the true top. 

A moment or two later, the performer, bethinking 
himself that the position of the gentleman holding the 
paper above his head might be rather fatiguing, brought 
forward the card tripod and invited him to lay the 
paper on this instead. The cover was placed over it to 
make all secure, and the whole left in the hands of the 
same person. In due course, the bell, prompted by the 
assistant from behind the scenes, rapped out the total 
of the two rows of figures; after which the gentleman 
having charge of the piece of paper was invited to 
uncover it, and after adding up the figures, to say 
whether the bell had answered correctly. When he 
took off the cover of the little table, this carried with it 
the false top and the substitute paper, exposing in its 
place the genuine one, which all present (conjurers 
excepted) naturally believed to have remained the 
whole time in his possession. 

A conjurer, versed in modem methods, would 
naturally discard the ladle and tripod in favour of 
some simpler and more up-to-date plan of ascertaining 
what figures have been written down. An effective 
expedient for this purpose is to rub the back of the 


Recollections of Hartz 


665 


paper used with dry white soap, and when handing the 
paper to be written on, to offer at the same time a little 
slab of plate-glass, or a hand mirror, to be used by 
way of writing-pad. Under these conditions, anything 
written on the paper with a fairly hard pencil will be 
reproduced on the surface of the glass; very faintly, but 
still with sufficient clearness to convey the necessary 
information to the assistant, when, a few moments 
later, he carries it off. 

Another plan is to have the numbers written on 
an ordinary memorandum block, previously “faked” as 
under. The two uppermost sheets are loosened round 
three of their sides, and a piece of carbon paper, not 
quite so large as the block itself, is inserted, blackened 
side down, between the second and third sheets. The 
edges of the second sheet are then pasted down again. 
After the figures have been written down, and the first 
sheet removed, the assistant has only to strip off this 
sheet, when he will find the numbers clearly duplicated 
on the one below it. 

As the Crystal Bell now rarely forms part of a 
conjurer’s paraphernalia, the reader may be glad of 
a suggestion as to an alternative way of disclosing the 
total of the numbers. A simple and effective plan 
would be as under. Let the assistant, after adding 
up the two rows of numbers, write the total on a 
playing card, say the seven of spades, and place this 
in the upper one of a packet of envelopes, which he 
then brings in, and deposits on the performer’s table. 
Meanwhile, the performer, taking a pack of cards, 
forces on one of the company a duplicate seven of 
spades. Leaving this in the hands of the drawer, he 
picks up the packet of envelopes, breaks the paper band 


666 


Recollections of Hartz 


around it, and asks some other person to select any 
envelope he pleases. The envelope so chosen is handed 
to the person who drew the card, with a request that he 
will place it therein and fasten down the flap. The 
performer, taking it back, returns with it to his table, 
on which he lays it, or appears to do so. As a matter 
of fact he “ changes” it in transit (by the ftlage ) for 
the upper envelope of the packet, containing the card 
with the written total. 

The trick is now done. All that remains is for the 
performer to “summon spirits from the vasty deep” or 
elsewhere, to write the desired total; or account, in 
some other striking fashion, for the appearance of 
the correct figures on the previously blank card. If 
the performer is gifted with a moderate amount of the 
dramatic instinct, the trick should produce a brilliant 
effect. 


THE INVERTED GLASS OF WATER. 

This ingenious trick has long since become common 
property, and has been exhibited by scores who have 
no idea to whom the world of Magic is indebted for it. 

In a non-magical form, the feat is a very old one. 
It is a favourite experiment of lecturers on pneumatics, 
to fill or nearly fill a glass with water, lay a card over 
its mouth, and invert the whole as in Fig. 244, the card 
being kept in position by atmospheric pressure. The 
feat in this shape was interesting, but there was 
no mystery about it. It was reserved for Hartz to 
turn this well-worn experiment into a feat of magic. 
In place of the card he used a piece of mica cut to the 
exact shape of the top of the glass. When this was in 


Recollections of Hartz 


667 



Fig. 244. 


position, and the glass inverted, the mica, being trans¬ 
parent, was practically invisible, and the effect, to the 
uninitiated spectator, was that the glass was still un¬ 
covered, the water being sustained therein by some 
supernatural means. 

But, to produce this ef¬ 
fect, the piece of mica had 
to be brought secretly over 
the glass. Hartz’s original 
method of doing this was 
as follows: He used a glass 
with a foot, the foot being 
of exactly the same diameter 
as the top. The mica disc, 
slightly wetted on its upper side, was placed under 
the foot, to which, under these conditions, it adhered, 
and the glass could be lifted without any fear of the 
two parting company. Picking up the glass by the 
stem with the left hand, the performer placed it on 
the extended right hand, and invited a spectator to 
fill it with water. This done, he transferred the glass 
(without the mica) to the left hand, and then bring¬ 
ing the right hand, with the mica, over the top, he 
inverted the glass, and removed the hand. 

In the later versions of the trick, a disc 
of very thin glass is substituted for the 
mica, and if the glass is of large diameter, 
this is in some respects preferable. Again, 
the glass disc may be made with a rebate or 
shoulder round the edge, as shown in Fig. 
Fig. 245. 2 45. The shoulder prevents the disc shift¬ 

ing laterally, and a glass thus covered may even be 
dropped into a profonde without much risk of accident, 



668 


Recollections of Hartz 


though the performer will probably feel more comfort¬ 
able for knowing that the pocket is lined with rubber, 
or other waterproof material. 

As an alternative to the method above described for 
bringing the mica cover over the glass, and especially 
where he was dealing with a glass of large diameter, 
say a half-pint tumbler, Hartz adopted another plan. 
The cover was, at the outset, “vested” on the left side, 
and on the table beside the tumbler was a glass jug of 
the same diameter at top as the cover, filled with water. 
The performer, standing on the left-hand side of his 
table (as viewed by the spectators), filled the glass 
three parts full, and during the momentary half-turn 
for that purpose, got the cover from under the vest into 
his left hand. He then transferred the jug to the same 
hand (lifting it with the thumb and fingers of that hand, 
placed across the top) and placed it, as done with, on a 
table in the rear, in so doing leaving the cover on the 
top of it. A moment later he decided that the glass 
was not quite full enough for his purpose. He picked 
up the jug (grasping it with the left hand over the top 
as before) and transferred it to the right, leaving the 
cover again palmed in the left. After adding a little 
more water, he picked up the glass with the left hand 
as he had done the jug, and held it up, as if to see 
(through the side) how full it was, and then lowered it 
on to the table, in so doing leaving the cover on the 
top of the glass. Pretending to have perceived that it 
, would hold a little more water, he lifted the glass up 
with the left hand, and made believe to add a little 
more, thereby confirming the spectators in their natural 
belief that the glass was still uncovered. 

Before quitting the subject of this trick, I must not 


Recollections of Hartz 


669 

fail to call the reader’s attention to the latest “wrinkle” 
in connection with it (the invention, I believe, of Mr. 
Cecil Hamley), which adds immensely to its magical 
effect. The only practical difference lies in the sub¬ 
stitution of a much thinner disc of mica than that 
formerly used; so thin, in¬ 
deed, as to be little stouter 
than a sheet of note-paper. 

When the inverted glass, 
then covered, is held verti¬ 
cally, the water is retained 
as effectually as by the 
heavier disc, but if it be 
sloped ever so little, the 
water begins to flow out 
gently between the mica and the glass (as in Fig. 
246), stopping again as soon as the vertical position 
is resumed, in obedience, apparently, to the mere 
will-power of the conjurer, and proving (?) to the 
most sceptical that no sort of cover is used. 



Fig. 246. 


THE MULTIPLYING BILLIARD BALL. 

This trick, in its original form, was, I believe, one 
of the many brilliant inventions of the late Buatier 
de Kolta. Hartz no doubt borrowed the idea of the 
trick from De Kolta, but, as usual with him, his work¬ 
ing had sundry original features. 

Hartz was accustomed to use, in addition to two 
solid ivory balls and the usual half-shell fitting over 
either of them at pleasure, two little dwarf stands (see 
Fig. 247), also of ivory, but blackened; professedly to 
rest the balls upon, and prevent their rolling about. 


670 Recollections of Hartz 

The foot was in each case hollow, and under one of 
them the half-shell was at the outset concealed, as 
indicated by the dotted lines, convex side down¬ 
wards. 1 A further item of apparatus was a little vase 
or cup, also of blackened ivory. This was fitted, 
like the familiar egg-cup for “ vanish¬ 
ing” an egg, with a half-shell, which 
if placed convex side upwards in the 
cup, appeared to be a solid ball, but 
if turned the other way up, adapted 
itself to the interior leaving the cup 
apparently empty. 

In preparing for the performance 
of the trick, one of the solid balls was 
vested, as was also the shell belong¬ 
ing to the cup. The duplicate solid 
ball was brought forward on the little 
stand under which the other shell 
was concealed, and offered for examination, the stand 
meanwhile resting on the palm of the performer’s right 
hand. Placing the stand on the table (the shell being 
left behind in the right palm) Hartz proceeded, by 
means of the shell, to make the one ball into two. In 
turning to his table, he got down the second solid ball 
into the shell and then placed the two solid balls one on 
each of the stands. Again taking them into his hands 
he transformed them into three; afterwards reducing 
the three to two again, and the two to one. At this 
stage he vested the shell he had so far been using, 
and got down in its stead the one belonging to the 
cup. This (professedly the solid ball last shown) he 

1 A portion of the foot of the stand is made transparent in the diagram 
in order to show the arrangement. 






Recollections of Hartz 671 

placed in the cup, dropping the solid ball into a 
profonde. 

Then, taking a piece of tissue paper, about five 
inches square, he laid it over the shell in the cup (held 
in the left hand) and brought the right hand over 
it, the lower joints of the second and third fingers, 
previously slightly moistened, coming just over the 
supposed ball. A slight forward movement of the 
hand, with a little pressure, caused the shell to tilt 
over, and, assisted by the forefinger of the left hand, 



Fig. 248. 


to perform a semi-revolution, the right hand mean¬ 
while making a rubbing motion on the paper. This 
being then removed, the cup was inverted apparently 
empty. 

At a later period Hartz discarded the little stands 
above described, and substituted, as more elegant, a 
two-armed brass support. This had no place of 
concealment for the shell, which was in this case 
“vested” at the outset of the trick, after the more 




672 


Recollections of Hart z 


usual fashion. Fig. 248 is a representation of the 
complete apparatus, in this its later form. 

Mr. C. O. Williams, who is the present possessor of 
Hartz’s apparatus for the trick, works it after an 
ingenious fashion of his own, as follows: At start¬ 
ing the cup is seen apparently empty, the shell ball 
belonging to it being in place, but concave side upper¬ 
most. On the two-armed stand is one of the solid balls 
(which we will call A), with the shell in a vertical 
position, covering that side of it which faces the 
audience. The other solid ball (B) is vested. The 
performer, taking A, with the shell on it, from the 
stand, makes the one into two, then privately bringing 
up B behind the shell, palming off the latter, and 
replacing both balls on the stand. Then taking A, he 
drops it into the “cup” to show that it just fits, and 
by inverting the cup turns it out into the hand again, 
the shell belonging to the cup coming out with it. 
He replaces the ball in the cup (really the shell only, 
convex side up, the solid ball being left in the hand). 
Taking B, with the shell, from the stand, he trans¬ 
forms the one into two, and the two into three, then 
“vanishing” them one after the other. He finally 
vanishes the one in the cup by turning over the shell 
under cover of a little paper cone, fashioned off-hand 
for the purpose. 

THE DEMATERIALISED GLASS OF WATER. 

No item of Hartz’s later programmes produced so 
much sensation as this exceptionally brilliant feat. 
In effect, it was, in its original shape, as follows: A 
spectator is invited to come forward and take a seat 


Recollections of Hartz 


673 


upon the stage. A glass tumbler (half-pint size) is 
handed to him, and is filled with water, nearly to the 
brim. A large handkerchief or neck-wrapper, of shawl 
pattern, is handed to him for inspection. When he 
has satisfied himself that it is merely what it appears 
to be, he is asked to hold one corner of it; the per¬ 
former holding another, and spreading it foursquare, 
that all may see for themselves that there is nothing in 
it. This done, the handkerchief if thrown over the 
glass, which, thus covered, is then taken back by the 
performer. He raises the edges of the cloth, and shows 
that the glass is still beneath it; but when, a moment 
or two later, he shakes it out, the glass has disappeared. 1 

On a casual perusal, the trick, so far, may seem to 
be identical with the much older Flying Glass of 
Water invented by Colonel Stodare (Modern Magic , 
p. 367), but even up to this point there is a material 
difference. In that case the performer stood behind 
his table and lowered the glass on to the servante. 
In the present instance no such expedient is avail¬ 
able, for the operator stands quite clear of any article 
of furniture. 


1 1 find among my notes a brief description, given me by Hartz, of 
a table which he used in his early days for a somewhat similar trick. 
The upper part of the pillar which supported the table-top had a 
cavity large enough to hold a half-pint tumbler. The opening in the 
table-top was closed by a sliding trap, actuated by a lever. Pressure 
on a second lever brought the glass to the surface. When such pressure 
was relaxed, the glass sank down, and the trap closed. After the 
glass had disappeared, the table-top, which was hinged to the pillar, 
was turned up so as to face the audience, and the table was in this 
condition moved aside by the assistant. 

Of the mise en scene of the trick in this form I have no record, but 
it is interesting to compare this complicated though ingenious con¬ 
trivance with the elegant simplicity of the inventor's later method. 

43 


674 Recollections of Hartz 

But the most surprising effect is to come. The per¬ 
former throws the empty cloth over a little skeleton 
table, consisting merely of a disc of plate-glass, less 
than a foot in diameter, supported on a brass pillar five- 
eighths of an inch wide, and with three slender legs. 
The spectators can see above, below, and around it. 
It has no place of concealment; no cover for even the 
smallest object. At the com¬ 
mand of the performer, however, 
the vanished glass rematerialises 
under the cloth, which is seen 
gradually to rise in the centre till 
it assumes the appearance shown 
in Fig. 249. The performer lifts 
the cloth, and produces from 
under it, not a duplicate, but the 
very same glass which was previ¬ 
ously “vanished”; as may be 
made manifest by allowing some¬ 
body to drop a ring or a marked 
coin into it beforehand. 

The requirements for the trick 
are as under:— 

1. The glass. This has no 
speciality, save that it must be 
one with perpendicular sides and 
a rounded edge. The kind of 
glass which is used to cover a 
water carafe generally answers these conditions. 

2. A cover for the glass. This is of zinc, with a 
turned-down edge, half an inch deep, and an inner rim 
of the same metal, so that the cover fits over both and 
inside the brim of the glass. The space between the 



Fig. 249. 











Recollections of Hartz 675 

two rims is rubber-lined, so that when in position the 
cover is perfectly water-tight. 

3. A disc of thin zinc, of same diameter as the cover. 
The two last items may either be vested or placed in 
pochettes, as may best suit the convenience of the 
performer. 

4. The handkerchief. This is in reality two hand¬ 
kerchiefs, of cashmere-shawl pattern, sewn together 
round the edges, but both facing the same way, so 
that the fabric shall show a “right” and a “wrong” 
side, and so appear to be single. A fourth part of the 
internal space is enclosed by a line of stitching, as 
shown in Fig. 250. At the point A is an opening a 



little over three inches long, giving access to this space. 
The hem, BB, along that edge of the handkerchief, is 
made extra thick so as to be distinguishable by touch 
from those of the other three sides. 

5. The table is as depicted in Fig. 251. Its top is a 
circular slab of plate-glass, eleven inches in diameter 
and a quarter of an inch thick. This is not a fixture, 
but merely rests on a three-armed brass support with 
turned-up ends, the central portion of which screws 
into the upper end of a slender brass pillar five-eighths 
















676 


Recollections of Hartz 


of an inch in diameter. This is, in turn, supported upon 
three slender wires, forming a tripod. So much can be 
seen at a glance, but there is a good deal about this 
particular table which the ordinary 

^— - spectator does not see. 

The central pillar is in reality a 
tube, divided half-way down by a 
thin metal plate, in which are two 
holes. Immediately below this, and 
in contact with it, is a movable 
disc, just fitting the tube. This is 
attached to the upper end of a wire 
rod, terminating at its opposite ex¬ 
tremity in a little knob, which is so 
fixed as to be capable of a quarter- 
turn to right or left. This disc has 
also two holes in it, which when the 
knob is turned to the left come im¬ 
mediately under the other pair of 
holes; the two discs in this condi¬ 
tion forming an open valve. If the 
knob be turned to the right, the 
openings no longer coincide, and the 
valve is closed. 

When it is desired to show the trick, the valve is 
closed, as above, and the upper portion of the tube 
partially filled with fine, dry sand. On this rests a 
cylindrical weight, to which is attached one end of a 
piece of thread about ten inches in length. This piece 
of thread is passed over a wire which crosses the tube 
about an inch below its upper end, and thence down 
again for a few inches. To its opposite end is attached 
a tiny brass socket about the size of a percussion cap. 



Fig. 251. 





Recollections of Hartz 


677 


In this rests the lower end of a piece of stiff brass wire, 
of such a length that its upper end shall just pass 
through a small hole made for that purpose in the 
centre of the glass top. This end of the wire is capped 
by another little brass socket, attached by means of 
cement to the centre of a disc of very thin glass, corre¬ 
sponding in diameter with that of the tumbler used in 
the trick. 

The normal condition of this disc is to lie flat on the 
table-top, under which circumstances it is invisible, 
save to a direct downward view at very close quarters. 
If, however, the central valve be opened by giving a 
quarter-turn to the little knob before mentioned, the 
sand trickles down into the lower compartment of the 
tube; the weight sinks, and the wire rod, with the glass 
disc on top, is forced slowly upwards, till it reaches a 
height corresponding with that of the tumbler. 

It should be mentioned that the column can be taken 
apart (the various portions screwing into one another) 
an inch below the table-top, and again nine inches 
lower dowm, in order to facilitate the setting of the 
apparatus. For convenience in packing, the collar to 
which the three legs are attached slides up the pillar 
and the legs are folded against it. 

Having duly digested these preliminary explana¬ 
tions, the reader should have little difficulty in follow¬ 
ing the working of the trick. The first stage is the 
filling of the glass with water, and handing it to the 
volunteer assistant. The next is to call his attention to 
the perfect innocence (?) of the handkerchief. After 
this has been duly crumpled up, drawn rope wise through 
the hands, and so on, the performer, as already men¬ 
tioned, gets the assistant to hold one corner of it, he 


678 


Recollections of Hartz 


himself taking the opposite corner (with the “right” 
side of the cloth towards the spectators) that they may 
see for themselves that there is “nothing in it.” In 
thus showing it he takes care to keep the thickened hem 
uppermost. Drawing his disengaged hand along the 
upper edge, he inserts the zinc disc, which he has mean¬ 
while palmed, into the opening at A and lets it slip 
down inside, when it naturally gravitates to the centre. 1 

Now* taking the handkerchief back into his owm 
hands, he gets the cover underneath it and in settling 
the cloth over the glass, w r orks this down into position 
bringing the zinc disc in the cloth just over it, covered 
by the left hand. After lifting a corner of the cloth 
to show that the glass is still there, he moves as if to 
return it to the assistant, and in so doing, with the 
right hand, removes the glass and drops it into the 
profonde on that side, the left hand still holding 
the handkerchief distended by the zinc. 

The assistant is now r invited to put his hand under 
the cloth and take the glass, but he is “not quick 
enough.” The cloth is w’hisked away; the glass has 
vanished. 

The next step is the reproduction of the glass of 
water. The performer explains that, appearances to 
the contrary notwithstanding, the glass is still in the 
cloth, but in a dematerialised condition. To induce 
it to rematerialise, the cloth is thrown over the table, 

1 At one period Hartz was accustomed temporarily to secure the 
disc, by means of a bit of wire bent into an S hook, to the upper edge 
of the handkerchief, so as to be able to show the hands empty; but 
this seems a needless refinement, and in his later performances of 
the trick, he abandoned it. On the other hand, it seems to me that 
the slit at A would have been better placed farther away from the 
centre of the hemmed edge, and near that corner of the handkerchief 
which is held by the performer. 


Recollections of Hartz 


679 


its corners hanging down around. The performer now, 
under some pretext, lifts the table for a moment, and 
replaces it, usually a little nearer to the audience, 
“that they may see it better.” He uses both hands 
to do this the one high up, the other at the point 
where the three legs join the pillar. He is thus enabled 
to give the needful quarter-turn to the little knob. 
The valve being thus opened, the sand begins to 
trickle away into the lower part of the pillar, and 
the weight to sink down, thereby raising the glass 
disc under the handkerchief, the performer meanwhile 
making mesmeric “passes” above it. The rising move¬ 
ment continues till the cloth assumes the appearance 
shown in Fig. 249. The performer with his left hand 
lifts up the glass disc covered by the cloth, which, 
thereby distended, appears to the eyes of the spectators 
to contain the missing glass of water. Putting the 
right hand underneath, he removes the short piece 
of wire on which it was supported, and which has 
remained attached by means of the little socket to 
the lower side of the disc. 1 

Under cover of a half-turn to the right, he lowers the 
right hand to the profonde, gets out the glass, and intro¬ 
duces it, still covered, under the cloth, to be immediately 
reproduced without the cover, and handed for identifica¬ 
tion. The cloth, containing the glass disc and the zinc 
cover, is thrown aside as being of no further use. 

1 The effect of tricks of this class may be greatly enhanced by intro¬ 
ducing beneath the handkerchief a piece of wet sponge enclosed in one- 
half of a small rubber tobacco-pouch, and at the right moment giving 
this a slight squeeze, to simulate a partial spill of the water. This is 
naturally accepted by the spectators as proof positive that the glass 
is at this stage really under the handkerchief. The use of the rubber 
pouch as a wrapper prevents any leakage in the pocket. 


68o 


Recollections of Hartz 


The above is a description of the trick as I myself 
knew it, but, as I have elsewhere stated, Hartz was 
never content to “let well alone” if there was a possi¬ 
bility of “better,” and he made from time to time 
sundry improvements on it. I am indebted to the 
courtesy of Professor Herwin, of Bristol, who took 
special interest in this trick, and is the present pos¬ 
sessor of Hartz’s own apparatus, for particulars of 
his later version. 

One alteration was the substitution of glass for zinc 
as the material of the loose disc first used. This 
enabled Hartz, after the disc had been inserted in the 
handkerchief, to hold up the latter between his volun¬ 
teer assistant and the footlights, and ask him whether 
there was anything in it. Handkerchief and glass 
being alike translucent, the answer was, naturally, 
“No.” To the ordinary spectator, knowing nothing 
about concealed discs, zinc or otherwise, this made the 
trick neither better nor worse, but it tended to puzzle 
the conjurers, if there were any present, and Hartz 
took special pride in doing this. He further substi¬ 
tuted a glass top, accurately framed to fit, for the zinc 
cover, thus enabling him, after reproducing the tumbler, 
to show it inverted without the water escaping, after 
the manner now familiar. 

Going back, however, to the point at which the 
tumbler has been pocketed, though apparently still 
under the handkerchief, Hartz asked his volunteer 
assistant to hold his hands flat, the one above the 
other, to receive the glass, and made believe to hand 
it to him accordingly. Then, turning towards the 
table, he asked him to place it thereon, and expressed 
surprise when he stated that he had not got it. After 



Recollections of Hartz 68 1 

some amount of byplay (searching under chairs, and so 
on), he came to the conclusion that the victim must 
have swallowed it, and would, unless at once relieved, 
get water on the brain. Spreading the cloth over his 
head, Hartz reproduced it (in make-believe, by means 
of the disc) from the top of his cranium. In once 
more offering it to him, it disappeared again; where¬ 
upon the performer, giving him up as hopeless, decided 
to reproduce it upon the table, first, however, unscrew¬ 
ing the three-armed support of the glass top, and 
handing this, with the top itself, for examination. 
Putting all together again, and in so doing introducing 
on top the socketed disc for the “rise,” he brought 
it forward to the footlights. He then borrowed a 
handkerchief, and laid this over the top, discarding 
the figured one hitherto used. He then asked the 
assistant to say exactly where he would like the table 
placed and placed it accordingly, this giving him the 
needful opportunity to open the sand valve. 

In connection with the subject of the Flying Glass 
of Water, it may perhaps be worth while to describe 
my own version of the trick, which had one or two 
special features, notably the suppression of the pre¬ 
pared handkerchief, and the use, to cover the glass, 
of an ordinary handkerchief, borrowed from a spectator. 
Further, as in Hartz’s version, no servante was used. 

I should premise that I made the trick a sequel or 
addition to that of passing a marked half-crown into 
a selected orange. (.Modern Magic , p. 170, and More 
Magic , p. 172.) Having produced the desired effect, 
I remarked: “I have kept my word, you.see. I have 
passed the half-crown from the glass of water into the 
orange. Now I am going to attempt a still more 


682 


Recollections of Hartz 


difficult feat. I shall endeavour to pass the glass of 
water into the half-crown. Will the owner of the 
coin be good enough to hold it up in full view, and 
I will ask you all to keep one e}^e upon it. You can 
keep the other on the glass of water, and then you 
will be quite sure that there is no deception.” I then 
proceeded to carry out my undertaking after the man¬ 
ner I am about to describe. 

The glass from which the half-crown has been van¬ 
ished is, as usual, a champagne tumbler. To this is 
adapted a cover of thin zinc, as a in Fig. 252, with a 
turned-down rim three-eighths of an 
inch in depth. To this again, fitting 
loosely over it, is adapted a second 
cover, b, of the same material, but 
shallower, the rim being in this case 
only one-eighth of an inch deep. The 
inner surface of each is lined with 
thin rubber cloth. This ensures their 
being absolute^ silent in use, besides 
making them completely water-tight 
when fitted over the glass. These two 
items at the outset are “vested,” the 
one within the other, with the inner 
sides next the body. 

Having exhibited the glass, three parts filled with 
water, the performer asks for the loan of a handkerchief, 
and while this is being procured, palms, in the right 
hand, the two covers. The greater depth of the inner 
one affords ample grip for this, notwithstanding that 
the larger cover is next the palm. The borrowed 
handkerchief is taken in the left hand, and, with it 
drawn over the glass. A moment previously, however, 



Fig. 252. 








Recollections of Hartz 


683 


the right hand lifts the glass, grasping it with thumb 
and fingers, a foot or so from the table. This is a 
natural enough gesture, being designed apparently to 
emphasise the fact that it is merely a plain, honest 
glass of water, with no possible preparation or means 
of deception about it. The handkerchief is drawn 
over it just as it again reaches the table, thereby for 
an instant screening not only the glass, but the hand 
that holds it. In that instant, a and b, as one, are 
lowered down over the glass, and left on the top, 
covered by the handkerchief. The performer enquires 
whether all present are satisfied that the glass is still 
under the handkerchief. Somebody may express a 
doubt on the subject, but in any case, he affects to 
perceive that some of the company are not quite sure 
about it. “I see, ladies and gentlemen,” he says, 
1 ‘that you don’t feel quite certain about the matter, 
and as the whole point of this experiment lies in the 
fact of the glass being where it is until it is n’t, I mean 
until it is elsewhere, I will show you once more that 
it is still under the handkerchief.” 

So saying, he takes hold of the handkerchief as 
indicated in Fig. 253, one-third of it hanging down in 
an even fold on the side nearer to himself, and raises 
it till the lower half of the glass is exposed to the 
audience beneath the forward fold. He then slowly 
lowers it again, covering the glass as at first. So, at 
least, the spectators imagine, but as a matter of fact 
the state of things is materially altered. The hand¬ 
kerchief is lowered down on to the glass in its folded 
condition, so that, as seen from behind, it is as in 
Fig. 254. Standing behind the table, and using both 
hands, the performer draws down the doubled hand- 


684 Recollections of Hartz 

kerchief tightly over the glass, so as to exhibit its 
complete shape within. “It is still here, you see. I 
will give you full notice before it flies away. By the 
way, a gentleman told me on one occasion that he saw 
the glass fly up my sleeve. I did n’t call him what I 



might have done, because he was a bigger man than 
myself, but ever since that I have made a practice of 
turning up my sleeves before performing the experi¬ 
ment.” He does so accordingly. “Now I will show 
you the glass once more.” He lifts the glass by grasp¬ 
ing it, under the handkerchief, with the right hand 
(the thumb keeping the handkerchief in position), 
immediately afterwards transferring it to the left hand, 
or rather, appearing to do so, the left hand grasping 
the shape b , by its edges through the handkerchief 
and the right hand palming away the covered glass. 

“This part of the experiment requires a very steady 














Recollections of Hartz 685 

hand, because if the water went first and the glass 
stayed behind, or if the glass went first and the wa¬ 
ter stayed behind, there would be trouble.” As he says 
this he makes a half-turn to the right, and under 
cover of this movement, gradually lowers the right 
hand and drops the glass into the profonde. “Now, 
sir,” he continues, addressing the owner of the coin, 
“hold the half-crown well up. I want you to catch 
the glass. One! Two! Three! Go!” As he speaks 



he brings the empty right hand up to the handkerchief 
again, and, in the act of shaking it out, clips b against 
the second and third joints of the fingers. The sup¬ 
posed glass has vanished. “Now, sir, if you will cut 
open the half-crown, you will find the glass of water.” 

This, mendacious though it be, is a safe assertion, 
inasmuch as nobody can put it to the test. The glass 
has magically gone somewhere , and as the audience do 
not know its actual whereabouts, they are not in a 
position to contradict the conjurer’s statement. 

Where, as may often be the case, a different mise en 
scene is employed, it may be necessary to produce the 
glass again. Where such is the case, it is better not to 
reproduce the glass previously “vanished,” but another, 
alike in appearance, and filled to the same height with 








686 


Recollections of Hartz 


water. This, covered with rubber in the usual way, 
should be placed in a loading-pocket in the left breast 
of the coat, and thence brought under the handkerchief. 

Hartz, using the prepared handkerchief, with shape 
in centre, had a particularly neat way of producing the 
glass. He threw the handkerchief (assuming that the 
glass was in a pocket on the left side) over the right 
arm, held horizontally in a bent position in front of 
him, and with the left hand took hold of the shape 
through the handkerchief, and slowly raised it. All 
eyes were naturally drawn to this, naturally supposed 
to be the glass, and meanwhile the right hand, under 
cover of the handkerchief, got hold of the actual glass, 
and brought it under the shape, to be immediately 
afterwards exhibited, uncovered. 

CARD, COIN AND CANDLE 

This can scarcely be correctly described either as a 
“ card” or a “coin” trick, though both a card and 
a coin figure among the needful “properties.” It is 
in truth a happy illustration of sleight-of-hand plus 
sleight-of-head, and has received the compliment of 
imitation, with more or less success, by many leading 
performers. 1 Neither of them, however, quite follows 
the working of the inventor; and, without any dis¬ 
paragement of the later versions, it may be remarked 
that there are one or two little secrets in the original 
which the imitators never completely fathomed. 

In effect, the trick is as follows:-A borrowed six- 

1 The reader may be interested to compare Mademoiselle Patrice’s 
version, founded on Bertram’s. See Mr. Lang Neil’s The Modern 
Conjurer , p. 249. 




Recollections of Hartz 


687 


pence, marked by the owner, is wrapped in one half 
of a cigarette paper across which a word or sentence 
has been written by a second spectator, the other half 
of the paper being retained by the writer. A card is 
selected by a third member of the audience, and kept 
in full view. The wrapped-up sixpence is held over 
the flame of a candle, when coin and paper both 
disappear with a flash. The marked coin is found 
imbedded in the very substance of the chosen card. 
The candle having been extinguished and cut into 
four pieces, the audience is invited to choose one of 
them. In the piece selected is found a bit of paper in 
which the coin was wrapped, unmistakably recogni¬ 
sable by the writing upon it. 

A person with no knowledge of conjuring, witnessing 
the above feat, would be almost inclined to cry “A 
miracle!” There appears to be no possible loophole 
for deception. The coin was marked. The paper was 
marked. The card was freely chosen, and has never 
been lost sight of. The marked coin has found its way 
into the chosen card, where it certainly was not when 
the card was drawn; and the marked paper into the 
chosen portion of the candle, which almost up to that 
moment has been burning on the table. A miracle, 
decidedly! 

The more instructed reader will, of course, come to 
a different conclusion. No one knows better than a 
conjurer the weakness of circumstantial evidence, for 
on circumstantial evidence nine-tenths of his illusions 
are based. But even the best instructed reader will 
hardly be in a position to suggest off-hand the actual 
working of this complex feat. 

The requirements for the trick are as follows: 


688 


Recollections of Hartz 


i. A card, say the queen of spades, which has been 
split apart, and has had a marked sixpence inserted in 
the centre, between the back and the front; the two 
surfaces being then pasted together again, as at first. 

A court card is better than a plain card for this 
purpose. To ensure a satisfactory result, Hartz dried 
the card in a miniature press, devised by himself for 
that purpose. This, illustrated in Fig. 255, consisted 
of two slabs of hard wood, six inches in length, by 
two and a half in width, and half an inch thick, drawn 
together by thumbscrews. A circular piece, an inch 
in diameter, was cut out of the centre of one of the 
blocks, to allow of the two surfaces of the card being 
pressed up flat round the coin. In the case of a card 



Fig. 255. 


thus prepared, there is no sign of the manner in which 
the coin was introduced, the very slight bulge occa¬ 
sioned by its presence being only perceptible at the 
back of the card. 

(This little press, by the way, is also very useful 
for pasting two cards back to back when necessary. 
When used in this manner a thin zinc plate is laid 
between the card and the circular opening.) 

2. A marked sixpence, exactly resembling the one 
inserted in the card. 

3. A pack of cards, with three or four extra queens 
of spades on top; and upon these the prepared card. 
These are kept in order till needed by a rubber band 
passed longitudinally round the pack. 




Recollections of Hartz 


689 


4. A cigarette paper, folded in half, with the marked 
sixpence above referred to as No. 2 laid between the 
folds. 

5. A lighted candle in candlestick. 

6. Knife, for cutting the candle. This has a round 
black handle, apparently of horn, and is in general 
appearance like an ordinary kitchen knife. As a 
matter of fact, however, -the handle is of metal, 
japanned, and has a cylindrical cavity at its lower 
end, in which is inserted the next item, viz.:— 

7. A piece of candle, one quarter the length of a 
whole one. From one end of this the wick has been 
removed, leaving a cavity about an inch long, and a 



Fig. 256. 


little over a quarter of an inch in diameter. The 
knife, with this inserted (excavated end outwards) 
in the handle, lies on a chair or side-table. 

8. A wooden slab, painted black, eleven inches in 
length and eight in width, and one inch thick but 
bevelled at the edges, thus making it look somewhat 
thinner than it actually is. A shallow groove or 
depression, half an inch wide, extends from end to 
end. The ostensible object of this bit of board, as 
it professes and appears to be, is to serve as a block 
to cut the candle on, and so prevent damaging the 
top of the table used, which in Hartz’s case was, after 
his usual fashion, of plate-glass. In reality, however, 


44 




690 


Recollections of Hartz 


this supposed bit of board is hollow, and just behind 
the groove above mentioned is a spring trap, eight 
inches in length by one and a half in width, opening 
longitudinally (hinge to the front) whenever pressure 
is applied to a little square stud near one corner of 
the board. 1 

9. A slip of wood, the size of a pencil, and six inches 
in length. This was cleft at one end, and inserted 
at the other into a wooden base or foot. 

10. A wire rod, three feet in length, with a clip at 
the top, and pointed at the bottom. This is thrust 
into a socket in the stage, and serves to hold the chosen 
card in full view. 

The various items, other than the last mentioned, 
are, at the outset, all laid on the performer’s table, 
which in Hartz’s case was, as already mentioned, a 
circular slab of plate-glass supported on a slender 
brass pillar with tripod foot, as illustrated in the last 
chapter. He has also, in a clip beneath the vest, a bit 
of “flash” paper, folded as if it contained a sixpence, 

1 Sidney Pridmore, a conjurer whose tragical end will probably be 
in the recollection of many readers, and one of the cleverest imitators 
of this trick, used for changing the piece of candle a slab of wood 
fashioned as shown in Fig. 256. This was solid, without trap, but had 
in one of its sides, in addition to the groove, an oblong excavation, a 
trifle larger and deeper than the piece of candle. After the candle 
had been divided, the selected piece was placed on the slab just in 
front of this cavity, and the duplicate piece brought down over the 
chosen one, causing the latter to roll into the opening. This plan 
suits well enough where the eyes of the spectators are all below the 
level of the table-top, but where they are so placed as to look down 
upon the operator, the opening is plainly visible from a considerable 
distance. 

The under side of Pridmore’s slab was a plain surface, and with this 
side up it was made to serve as a writing-desk for the spectator who 
wrote the word on the cigarette paper. 


Recollections of Hartz 691 

and bearing the impression of one previously placed 
in it, but again removed. 

When about to exhibit the trick, the performer steps 
up to his table, and picks up the cigarette paper, having 
his own marked sixpence in its fold. He asks some 
one to lend him a sixpence, but first to mark it, that 
he may be sure of knowing it again. While this is 
being done, he asks some one else to write a name or a 
sentence on the cigarette paper, which he hands him 
for that purpose, his own sixpence being allowed to 
slide out of the fold, and being retained between the 
forefinger and thumb of the right hand. When the 
other sixpence has been duly marked, he takes this also 
between the finger and thumb and examines the mark. 
He observes that it is hardly as plain as it might be, 
but it will do, or something to that effect, and, so 
saying, hands it to some other spectator (not too near 
to the first), requesting him to notice the mark. In 
so doing, however, he “changes” the coins, by the 
simple expedient of sliding the one over the other, so 
that it is the coin with the conjurer's own mark that the 
second spectator takes note of. 

The cigarette paper is then torn in half, thereby 
dividing the writing on it. One-half is left in the 
hands of the writer. In the other the (substitute) 
sixpence is wrapped and handed to the performer, 
who for the moment carelessly throws it on the “run¬ 
down” in front of the stage, or on the stage itself, 
requesting the audience to keep an eye upon it. 

He now goes to the table to get the pack of cards, 
and in picking this up leaves the genuine sixpence on 
the table. Removing the rubber band from the pack, 
he invites some one to draw a card, forcing one of the 


692 


Recollections of Hartz 


unprepared queens of spades. Bringing the duplicate 
cards back to the top of the pack he takes the drawn 
card, and changes it (by means of a filage) for the top 
card, which is the prepared queen. This he inserts in 
the clip of the wire rod, stuck in the floor of the stage. 1 
He then picks up the paper containing the sixpence, 
and going to the table proceeds to insert it in the cleft 
stick, in reality inserting instead the empty flash paper 
from the clip under the vest. Meanwhile the disen¬ 
gaged hand opens the genuine paper, extracts the six¬ 
pence it contains, and drops this into a pocket; the 
paper itself being rolled between the fingers into the 
form of a little plug, about an inch long and an eighth 
of an inch thick. In the act of picking up the knife, he 
inserts this little plug into the cavity of the prepared 
piece of candle. As if bethinking himself, he lays the 
knife down again, and taking the piece of paper (osten¬ 
sibly containing the coin) from the cleft stick, he holds 
it to the candle-flame, flashes it off, and shows the 
hands empty. 

The next step is to blow out the candle. While 
doing this he secretly picks up the borrowed sixpence 
from the table, and conceals it in his right hand. 
Then, picking up the prepared card, he explains that 
the sixpence has passed into the card. Going to the 
person who took note of the duplicate sixpence, he 
asks him to bear witness that there is really a coin in the 
card, but no opening through which it could have got 
in. Having testified to this effect, he is invited to tear 
the card across, and see whether the coin within is really 
the marked sixpence. He asseverates, in all good faith, 

1 Where for any reason this was inconvenient, Hartz simply picked 
up the wrapped-up sixpence, and threw down the card in its place. 


Recollections of Hartz 


693 


that it is so. The performer then taking the coin 
between the forefinger and thumb, which already hold 
the genuine sixpence, crosses over to the lender and 
returns him his property; in the act of so doing chang¬ 
ing the coin for the original by sliding the one over the 
other in manner already described. 

He next calls attention to the candle. Lifting it out 
he lays it on the wooden slab, and after cutting half 
an inch or so off the wick end (which would otherwise 
be inconveniently identifiable) divides the remainder 
into four equal portions. He now invites the company 
to select one of the four pieces, meanwhile allowing 
the prepared piece of candle to slip out of the knife- 
handle into his right hand, and transferring the knife 
to the left. In apparently picking up the chosen piece 
of candle with the right, he brings down the loaded 
piece, which is resting against the first and second 
joints of the fingers, just over the chosen piece, at the 
same time drawing the latter slightly towards himself. 
Meanwhile the haft of the knife, in the left hand, is 
pressed for a moment on the little stud before mentioned 
thereby opening the trap. The chosen piece forth¬ 
with passes into the cavity below, the “ faked” piece 
being exhibited in its place. The other three pieces 
remain as they were. 

In his later performances of this trick, Hartz dis¬ 
carded the wooden slab in favour of a dummy pack 
of cards, which was substituted, after the desired card 
had been forced, for the pack previously used. This 
pack (see Fig. 257) was hollow, and the top card w^as 
cut so that part of it should form an oblong trap, 
opening along the centre, and extending to nearly the 
whole length, and half the width of the cards. In the dia- 


694 


Recollections of Hartz 


gram the dotted line indicates the “hinge,” and the 
central line the opening. This is placed on the table, 
with the “trap” side away from the spectators. After 
the candle has been divided, the performer places the 
selected piece on the forward portion of the pack as if 
to enable the audience to get a better view of it. He 
then remarks: “I think I have cut this piece a little 
too short; do you mind my taking one of the others 
instead?” As he speaks* he brings down the right 



Fig. 257. 


hand, holding the prepared piece over it, and pushes the 
chosen piece down the trap, immediately showing the 
other in its place. To all appearance he has merely 
picked up the piece chosen. The audience naturally 
hold to their selection; or if not, he himself says: 
“But perhaps it will be better to use the piece you 
chose.” 1 

We will suppose that by the one means or the other 
the piece of candle has been changed. Bringing for- 

1 1 may here mention a very deceptive “change” devised by the 
late Robert Hellis (in his day one of the neatest of drawing-room per¬ 
formers) for the purpose of a somewhat similar trick. The four pieces 
of the divided candle were laid along the forward edge of the performer’s 
table, he himself facing the audience, with the table on his left, and 
with the faked piece lying across the middle joints of the fingers of his 
right hand. When the choice had been made, he made a half-turn 
towards the table, and picked up the selected piece with the same 
hand, the thumb being above and the fingers below the edge of the 
table. The effect was that the chosen piece passed over the loaded 
piece and lay across the roots of these fingers, the substitute, now held 
between the finger-tips, being shown in its place. 







Recollections of Hartz 


695 


ward a plate, the performer asks some one to hold it. 
He then shows, apparently, a portion of wick at each 
end of the piece of candle, the rolled paper, if neatly 
inserted, making, to casual inspection, a very fair sub¬ 
stitute. If he sees, as he can at a glance, that this 
result has not been attained, he does not show this 
end, but begins at once to pare away the wax from 
the opposite end, on to the plate. When the bit of 
paper is reached, he asks the person holding the plate 
to draw it out and unfold it. It is compared with the 
half retained, and is found to be the original. 

THE WINE AND WATER TRICK. 

This again Hartz worked after a fashion of his own. 
Of the Wine and Water trick there are many versions. 
In all the root idea is the same: viz., that wine and 
water, mixed in a small decanter or carafe, again 
separate, and pass into two glasses placed one on each 
side of the decanter; the wine into the one, the water 
into the other. The decanter and glasses are neces¬ 
sarily covered over during the process; and in the 
original form of the trick the covers were imposing 
pyramids of tin, in whose upper regions were secret 
compartments holding the fluids to be produced. The 
trick in this form belonged to the “false bottom” 
school of conjuring, now, happily, extinct. 

A later and more elegant version will be found 
described in More Magic , p. 375. To this version 
Hartz’s method had considerable affinity, but it had 
sundry features of its own which seem worthy of a 
brief description. 

To give the trick a properly magical character, the 


696 


Recollections of Hartz 


spectators have to be convinced on two points: first, 
that there is no natural means of escape for the wine in 
the decanter; and secondly, that the covers used are 
really covers only, and are not directly accountable 
for the reappearance of the wine in the glasses. Hartz’s 
working met both these conditions. The covers for 
the glasses were mere cardboard cylinders, open at 
each end; just wide enough to go over the glasses, and 
overtopping them by a couple of inches. The cover 
was merely a borrowed handkerchief, and the stand 
on which it was placed was a miniature stool or table, 
the various parts of which were offered separately for 
examination, and then put together under the eyes of 
the spectators. 

So far as the reappearance of the wine in the glasses 
was concerned, the secret lay in the fact that after the 
pasteboard tubes had been examined by the audience, 
the performer loaded into one end of each a metal 
cylinder, fashioned like a somewhat massive napkin- 
ring; in depth not quite two inches, and of such 
diameter externally as to fit neatly within the paste¬ 
board tube. Each of these cylinders was hollow, and 
between its inner and outer walls there was sufficient 
space to accommodate a wineglassful of necessary fluid 
—water or wine, as the case might be. The upper edge 
was turned over just enough to prevent the fake 
passing too far into the pasteboard tube, and in this 
same edge was an air-hole, plugged till it became 
necessary to use it. At one point of the lower edge 
was a little spout, which, when the loaded cover was 
in position, came just over the edge of the glass. 
From the fact that the brass receptacle was tubular, 
the performer was enabled to pass his wand through 


Recollections of Hartz 


697 


the pasteboard cover, or even to allow a casual glance 
through it, after the fake had been placed in position, 
thereby proving (?) up to the last moment, the absence 
of preparation. 1 

The stand for the reception of the decanter, save 
for its greater height (about six or seven inches) was 
not unlike the familiar “card tripod,” being supported 
on three legs, crossing each other half-way down, and 
fitting at bottom into sockets in a triangular base or 
foot. As first submitted to inspection it was in six 
portions: viz., the top; the base; the three legs; and 
a wire triangle serving to bind the legs together at 
their point of junction. To all appearance nothing 
could be more innocent. The top showed a clear 
unbroken surface, and the legs appeared to be rods 
of solid metal. As a matter of fact, however, one of 
the supposed rods was a hollow tube, closed by a plug 
at each end, so well disguised as to attract no atten¬ 
tion, but readily removable by the practised fingers of 
the conjurer. 

The various parts having been duly examined, the 
performer collected them, and during the return jour¬ 
ney to his table twisted out the two plugs last men¬ 
tioned. He then began to put the various parts 
together. The three legs were screwed into the top, the 
wire triangle holding them together at the centre and 
their lower ends being fitted into the appropriate 
sockets in the base. The performer then, putting one 
hand over the top and the other under the base, pressed 


1 This arrangement is, in principle, the same as that described in 
More Magic, p. 375, but in Hartz’s case the effect was enhanced by 
the fact that the covers were, in the first instance, submitted to direct 
examination, which the other method does not admit of. 


698 


Recollections of Hartz 


all the parts well home. Such, at least, was what he 
appeared to do, but under cover of so doing, he at the 
same time twisted off and palmed a false top overlying 
the true top which was perforated, to allow of the escape 
of the wine through the hollow leg into the base. 

The conception of the false top, manipulated as 
above, was a stroke of genius. It fitted tightly over 
the true top, and so long as the apparatus remained in 
parts, could tell no tales; for the two could not pos¬ 
sibly be separated until the legs, screwed into the 
under side of the true top, furnished the necessary 
hold. 

The apparatus had a further speciality. As the 
reader is, of course, aware, to allow the wine to escape 
through the very small hole in the bottom of the 
decanter, air must be admitted above. This is usually 
done by removing the stopper; but it seemed to Hartz 
that the effect would be more magical if the liquid 
disappeared from a closed vessel, and, true to his life¬ 
long policy of endeavouring, in poker language, to “go 
better” than his confreres , he decided that the stopper 
should remain in the neck of the decanter. To allow 
of this, he devised a special form of stopper. This was 
a rubber cork, silver-mounted, like those frequently 
used for spirit decanters. But the knob at the top, 
though apparently a fixture, was in reality movable, 
being attached to a wire rod passing vertically through 
the centre of the cork. At the opposite end of this 
wire was a conical rubber plunger, adapting itself to a 
cavity of similar shape in the lower part of the cork. 
A minute hole was bored through the upper part of 
the cork into this cavity. The knob and plunger had 
about an eighth of an inch of vertical play; and in 


Recollections of Hartz 


699 


conjunction with the hollow in the cork formed a 
valve, air-tight when the knob was raised, but open 
when it was depressed. 

For stopping an air-hole in this or any similar trick, 
Hartz used a tiny plug of rubber. This could be 
removed by the fingers with ease and certainty, which 
is not always the case with the wax pellet ordinarily 
used. 1 

The mention of the Wine and Water trick recalls 
another feat which I believe was not exhibited by any 
one but Hartz, viz., the conversion of bran into wine, or 
water and goldfish. This effect was produced by means 
of modification of the familiar 44 bran-glass. ” {Modern 
Magic , p. 383.) The metal shape which represented 
the bran was made water-tight, and round its lower edge 
was cemented a strip of soft rubber. 

The shape, thus prepared, duly covered with bran, 
and filled with appropriate liquid, was placed in an 
inverted position, in a box containing loose bran. The 
glass, after being shown empty, was dipped into this, 
and brought up full of bran. To prove 44 no deception, ” 
the performer let the bran run back into the box; after 
which he again lowered the glass into the box to fill it. 
This time, however, he brought it straight down over 
the inverted bran shape, pushed it well home, and 
turned the glass over, the hand which had apparently 
been used to fill it leaving on the top of the shape 
a handful of loose bran. This was brushed off. The 

1 My own plan, in such cases, was to thrust through the wax pellet, 
after insertion, the upper end of a pin, cut off a quarter of an inch 
below the head. This, like the rubber plug, could be removed with 
ease, and further could be implicitly relied on to leave the hole “all 
clear” when withdrawn. 


700 Recollections of Hartz 

glass was then covered, as described in Modern Magic , 
and the shape, a few moments later, lifted off within 
the cover. The rubber fillet round the edge of the 
shape effectually prevented any premature leakage. 

THE WITCHES’ KETTLE AND MAGIC PUNCH BOWL. 

The Witches’ Kettle is a trick belonging to the old- 
fashioned “heavy-luggage” school of conjuring, and 
while the existing preference for a minimum of visi¬ 
ble apparatus continues to hold sway, is not likely to 
be frequently met with. But “the whirligig of time 
brings strange revenges,” and it would not be safe 
to assert of any trick that it may not, at some time 
and in some shape, be resuscitated. 

In effect the trick was briefly as follows: A large 
cauldron, or gipsy kettle, is suspended, by means of 
a cross-piece between a pair of trestles, in the middle 
of the stage. Sundry pails of obviously real water are 
poured into it. A cover is clapped on the top, and a 
fire or spirit-lamp lighted underneath it. After a brief 
interval, and the firing of a pistol for the sake of effect, 
the cover is removed, when three or four ducks or 
pigeons fly out. The cauldron, being turned upside 
down, is found to be empty, every drop of the water 
having disappeared. 

In what may be called the standard method of 
working the trick, one of the supports, as also the 
cross-piece and the handle by which the cauldron was 
suspended, is hollow; and these together form a pipe 
or syphon through which the water poured into the 
cauldron is secretly pumped out again into a receptacle 
below the stage. The cover has a broad flange or 


Recollections of Hartz 


701 


collar round it, fitting into a shallow tin pan of similar 
depth, attachable or detachable at pleasure by means of 
a couple of “bayonet” catches; and this again fits into 
the mouth of the cauldron. When preparing for the 
trick, the birds to be produced are packed in this pan, 
to which the cover is then secured by means of the 
bayonet catches. The two, in appearance a cover only, 
are placed at the proper moment on the cauldron. 
When the performer (having previously got rid of 
the water) desires to produce the birds, a twist of 
the lid disengages the cover from the pan and the 
birds fly out, the pan being left behind. The per¬ 
former replaces the cover, but, bethinking himself 
that he has not shown the kettle empty, again removes 
it, this time bringing the pan away with it, when all 
is left clear to the bottom. 

The working adopted by Hartz was considerably 
more artistic, though the members of an average 
audience would scarcely be qualified to appreciate 
its superiority. The points in which it differed from 
the older working were two. First, the cauldron was 
suspended by a single piece of ordinary cord, thereby 
apparently barring any possibility of the pumping 
expedient being employed; and secondly, the cover 
used was shown to be just a plain lid, with no possible 
place of concealment for the birds. 

The trick was worked as follows: The performer, 
standing close to the cauldron, poured into it the 
water, of which three or four pails in succession were 
brought from the wing, and handed to him by his 
assistant. Now, in the first place, the pails were 
deceptive, the bottom, of each being only half-way 


702 


Recollections of Hartz 


down and the pail therefore holding only half as 
much as it appeared to do. Secondly, the performer, 
when he took up his position beside the cauldron, 
dropped into it from his trouser-pocket one end of a 
rubber tube which passed dow r n his trouser-leg. From 
the position in which he stood, the lower end of 
this tube came just over a small opening in the stage. 
Through this opening a further length of tubing w~as 
connected with it from below, and through the two 
combined the water was pumped away as easily as 
in the older version. 

The birds to be produced (which in Hartz’s case 
were pigeons) were stowed in the bottom of the 
cauldron, within a space closed by water-tight 
spring doors, with a normal tendency to fly open, 
but kept closed by a catch. At the proper moment 
the catch was withdrawn. The doors flew open, the 
birds flew out, and the trick was done. 

The Magic Punch Bowl may be regarded as the 
converse of the Witches’ Kettle trick. 

A handsome cut-glass punch bowl is exhibited. The 
brim is boldly scalloped, but the bowl has no other 
speciality, and it is clearly empty. And yet, no sooner 
has the performer placed it upon his table, than it 
begins to fill with punch, which the performer ladles 
out, and distributes to the company. 

The secret here lies in the fact that behind the 
scenes, a little above the level of the top of the bowl 
as it rests on the table, is a receptacle containing a 
supply of the necessary fluid. From this a rubber 
tube is carried under the stage, up the leg and half¬ 
way cross the back of the table. The end of this, 


Recollections of Hartz 


703 

terminating in a short piece of metal tubing bent into 
the shape of a hook, lies on the servante till needed. 

In placing the bowl on the table the performer brings 
this bent tube over its hinder edge, resting between 
two of the scallops. The supply of punch is turned 
on behind the scenes, and the performer has nothing 
to do but to ladle it out, at an appropriate moment 
dropping the tube back on to the servante, and placing 
the nearly full bowl, as if for greater convenience, on 
a second table nearer the spectators, and continuing 
the distribution; the idea thereby induced being that 
the bowl continues to refill itself under these altered 
conditions, such belief on the part of the spectators 
materially enhancing the effect of the trick. 


THE AUTOMATIC RISING CARDS 


Hartz was the first wizard to work the trick of the 
Rising Cards in this its most magical form. The 
mechanical pack was his invention, and for 
many years he enjoyed a monopoly of it, B A 
all attempts to produce any satisfactory 
imitation proving failures. Ultimately, he 
made up his mind to part with the secret, 
and allow the apparatus to be copied, so that 
it has now become common property. It 
has been slightly modified by later repro¬ 
ducers, but in all essential particulars the 
only reliable packs now used are copies of 
Hartz’s original model. 

The pack used by Hartz himself in his Fig ^ 
performances lies before me as I write. It 
is in two parts, A and B (depicted in side elevation 
in Fig. 258), between which are inserted the cards 




















704 


Recollections of Hartz 


intended to rise. The hinder portion, A, consists of 
some forty-five cards pasted together, but having 
their central portions (other than those of the back 
and front cards) cut away to allow of the introduc¬ 
tion of the necessary mechanism. The front portion, 
B, consists of four cards only, likewise pasted to¬ 
gether, and made to bulge slightly forward a little 
below the centre by means of a thin brass tongue 
two and a half inches in length, glued vertically 
between them. The only connection between A and B 
is by means of this tongue, which projects from the 
bottom of B, and is turned up square at its lower end, 
so as to form a clip fitting into the lower part of A. 
Matters are so arranged that at this point A and B are a 
fraction of an inch apart, but at top,-for about one- 
third of its length, B presses slightly against A. By 
drawing B downwards for a quarter of an inch the up¬ 
turned tongue can be withdrawn from A, and the two 
parts disconnected at pleasure. 

The working mechanism is contained wholly within 
A, its only visible portions being two little rubber- 
covered wheels, a a, which project through slots cut in 
the foremost card, as shown in Fig. 259. The mechan¬ 
ism is in principle not unlike that of a musical box, save 
that the barrel and comb are omitted. Two brass 
plates, the lower one measuring three by one and 
three-quarter inches, the upper one three-quarters of 
an inch shorter, are held together, at a distance of three- 
eights of an inch, by a pillar at each corner of the smaller 
one. Between these two plates is fixed a spring-barrel, 
which is wound up after the manner of a watch; b , 
in Fig. 259, indicating the hole for the key. The barrel 
is connected by an intermediate train with a “crown” 


Recollections of Hartz 


705 


or “contrate” wheel, 1 which in turn is connected with 
the arbor, or spindle, on which the two little wheels, 
a a, revolve. From about half the circumference of 
the contrate wheel the teeth are cut away for a reason 
that will presently appear. 

When the mechanism is set in 
motion, which is effected by upward 
pressure on a pin, c , projecting about 
a quarter of an inch from the pack 
at bottom, the little wheels a a begin 
to revolve, rising to the front; and 
if three or four cards have previ¬ 
ously been inserted between the two 
parts of the pack, the card for the 
time being in contact with a a will 
be forced slowly upwards, save when 
the toothless portion of the con¬ 
trate wheel comes into operation. 

During this period, though the train is still running, 
no movement is communicated to the little wheels 
a a , which accordingly come to a temporary standstill. 
When the toothed portion of the contrate wheel is again 
reached, their movement recommences. The speed 
of the movement is controlled by a “fly” regulator, 
and the mechanism is so delicately adjusted that its 
working is inaudible, at a distance of even three feet. 

When the pack is in use, the upward pressure on the 
pin c is supplied by the weight of the pack itself. When 
it is desired to make the cards rise, the pack is placed 
in a holder (see Fig. 260) just large enough to contain 



Fig. 259. 


1 A “contrate” wheel is one the teeth of which lie parallel to its axis, 
and so in a contrary direction to that of the train generally. Such a 
wheel has a fanciful resemblance to a crown, hence its second name. 


45 




706 


Recollections of Hartz 


it. This has plate-glass sides and a 
metal bottom, to the under surface 
of which is soldered a socket to re¬ 
ceive one end of a wooden rod, about 
a foot long, which serves as a handle 
to hold the apparatus aloft that all 
may see it. 1 

Hartz’s method of changing the 
pack was, as usual, peculiar to him¬ 
self. The mechanical pack, with 
the four cards intended afterwards to 
rise already in position, was placed 
in a tin case of appropriate size, 
closed at one end, but open at the 
other. A space was provided at one 
corner of the closed end, to receive the pin, and protect 
it from premature pressure. This case was suspended 
by means of a ring at top, open end downwards, beneath 
the vest, the pack being prevented from falling out by a 
swinging wire loop, which crossed the opening near one 
corner. This was loosely pivoted to the case at back 
and front, and normally hung straight down, crossing 
the lower end of the pack; but a mere touch with the 
finger sufficed to push it aside, when the pack, deprived 
of its support, slipped down into the hand. 2 

1 In my own opinion a plain glass goblet with upright sides is pre¬ 
ferable to any other form of holder. 

2 It is to be borne in mind that at the date when Hartz devised the 
mechanical pack the “card servante” which now plays so important a 
part in stage card tricks, was practically unknown. It is further to be 
noted that Hartz, in order to enhance the effect of his tricks, purposely 
made them more difficult of execution by reducing his stage furniture 
to a minimum: the only table used in his later performances being, 
as already mentioned, a slender affair with a circular plate-glass top 
less than a foot in diameter. 












Recollections of Hartz 


707 


The mechanical pack being thus held in readiness, 
and the glass holder, for its reception later, being placed 
upon the table, the performer comes forward with an 
ordinary pack of cards and “forces” four of them, 
corresponding with those which are intended to rise. 
These having been replaced, and the pack shuffled, he 
returns to the table to get the glass holder. He picks 
this up with the left hand, and during the momentary 
turn for that purpose, the right hand drops the cards 
which it holds into the prof onde, and secures in exchange 
the mechanical pack from under the vest. This is 
laid upon the table, while the glass holder is tendered 
for examination; after which the performer fits the 
wooden rod into the socket, and hands it to a spectator 
to hold aloft. Addressing the person who drew the 
card corresponding with that arranged to rise first, he 
asks him to name his card. He then places the pack in 
the glass receptacle, and orders that card to rise. The 
weight of the pack, pressing on the pin c , starts the 
train, and the card rises accordingly. During its 
upward progress, the performer asks the name of the 
second card, and when the first card has risen to its 
full height, and has been removed, the second card is 
ordered to rise in like manner, and so on, according to 
the usual routine of the trick. 

The reader may here be reminded of a special feature 
of the apparatus, as yet unaccounted for; viz., the 
removal of a portion of the teeth of the contrate wheel. 
The object of this is to render the upward movement 
of the cards intermittent, and a little reflection will 
show the necessity of this. If it were not so, a second 
card .would follow instantly upon the heels of its 
predecessor, without waiting for invitation, and the 


708 


Recollections of Hartz 


theory of the trick (viz., that the cards only rise at 
the command of the performer) would be somewhat 
rudely disturbed. The brief interruption of the lifting 
movement after the appearance of a given card affords 
the performer just the time he requires to enquire the 
name of, and call for, the next one. A similar stoppage 
likewise occurs midway during the upward progress of 
each card, but this heightens the effect; a partial rise, 
then a stoppage, and then a further rise being less 
suggestive of a mechanical force (and therefore more 
magical) than a continuous upward movement would 
be. 1 

As I have already mentioned, the mechanical packs 
in use at the present day differ from Hartz’s in sundry 
small points of detail. The little wooden wheels are 
in some cases covered with sandpaper in place of 
rubber; and in others encircled by little sharp metal 
points, after the fashion of a spur, the latter make 
being probably the more certain in operation. 

Another difference is in the method of starting the 
movement. The pin at bottom is replaced by one 
projecting upwards from the top of the pack, and 
operated by moving it a fraction of an inch from right 
to left, or vice versa . This arrangement places the 

1 If the card which has last risen be not at once removed, but is 
allowed to remain till the next has started on its upward course, the 
former will wriggle about with a curious jumpy movement. Mr. C. O. 
Williams of Cardiff, a prolific originator of novel ideas in magic, utilizes 
this fact to get a little additional effect. He makes the card which next 
follows the queen a diamond. So soon as that card is named he says: 
“It is curious how fond ladies are of diamonds. You see the queen 
begins to dance at the very mention of the word,” which she actually 
appears to do until, a moment later, she is removed, when it is found 
that the diamond has crept up halfway behind her. 


Recollections of Hartz 


709 


mechanism more completely under the control of the 
operator, who can, by a touch of his finger in the act 
of removing the card just risen, bring the apparatus 
to a standstill. The power to do this is useful, as 
enabling the performer to give a more dramatic form 
to his mise en scene. An example is found in the 
version adopted by Herr Willmann, who has made 
somewhat of a speciality of this particular trick. His 
working is as follows 1 : 

Three cards only are made to rise, but one of them 
(the queen of clubs) rises in the first instance with 
its back to the company, appearing subsequently in 
the proper manner. To produce this effect the 
mechanical pack is prepared by placing two queens 
of clubs, back to back, next the friction wheels, and 
a few loose cards, of any description, on the face of 
the pack, the only requirement as to these being that 
the outermost shall be a duplicate of the bottom 
card of the pack offered to draw from; so that no 
difference of appearance shall be perceptible after the 
exchange of packs. The pack thus prepared is laid 
face downwards on the performer’s table, screened 
from view by a crumpled handkerchief. 

The performer advances with the ordinary pack, 
forces the queen of clubs, and has two other cards 
freely chosen. Leaving all three in the hands of the 
drawers, he steps back to his table, lays down the 
remaining cards close beside the mechanical pack, and 
brings forward for inspection a glass goblet with per- 

1 Die Zauberwelt, vol. ix., pp. 116, 132, 146. The whole of the article 
is well worth perusal, as it contains not only a minute and clear de¬ 
scription of the apparatus in its most modern form, but many valuable 
hints as to its regulation and effective use. 


7io 


Recollections of Hartz 


pendicular sides. When this is returned, he places it 
on the table and drops into it, apparently, the pack 
previously used, but in reality the mechanical pack, 
the other being in turn covered by the handkerchief. 
In placing the pack in the glass, he, as if by accident, 
raises the loose cards in front an inch or two, and lets 
them fall back one at a time, thereby inducing a belief 
that the whole pack is made up in the ordinary way, 
of separate cards. 

Having duly settled the pack in the glass, he takes 
back the drawn cards, and, without looking at them 
himself, exhibits them to the company. He then inserts 
them in the pack, apparently haphazard. As a matter 
of fact, however, the two indifferent cards are placed 
behind the two queens already in position, and the 
forced queen among the loose cards in front. He next 
proceeds to “mesmerize” the cards, first rubbing the 
right hand along the left coat sleeve, “to generate, ” he 
says, “a little animal magnetism,” and then passing 
it gravely backwards and forwards over the pack. 
The drawer of the hindermost card is invited to name 
it, and that card is ordered to appear. Picking up the 
glass, the operator passes his wand over and round it 
with due solemnity, and in replacing it on the table 
moves the little lever to the right, thereby starting 
the clockwork train. 1 

The card rises and is removed in due course, after 
which the second card is called, and appears in like 

1 One of the special points of Hartz’s working was that the pack, in 
its glass case, was handed to a spectator to hold; a bolder and far 
more impressive method. If the trick is still to be worked on the 
table, there seems to be little or nothing gained by using an elaborate 
mechanical contrivance in place of the simpler thread. 


Recollections of Hartz 


711 

manner. In removing this card, however, the per¬ 
former reverses the little lever, and so arrests the 
movement. He says carelessly: “ I shall now command 
the third card to rise. ” Naturally, nothing happens, 
and he simulates some amount of discomfiture; going 
to the table and looking down anxiously at the pack; 
tapping the glass with his wand, and so on. When he 
has thus induced his audience (or such of them as are 
unfamiliar with the wiles of conjurers) to believe that 
the trick has somehow broken down, he says, as if 
uncertain: “I am right, am I not? There were three 
cards drawn? May I ask you to name the one that 
is missing?” He is told that it is the queen of clubs, 
whereupon he explains, after the usual fashion, that 
that accounts for the non-appearance of the card. 
Queens are not accustomed to be ordered about, and 
so on. He will, however, endeavour to set matters 
right. He accordingly takes the glass in his hand, and 
addresses the queen in apologetic language, assuring 
her that there was no intention to offend, and begging 
her to rise and not put him to shame by spoiling his 
experiment. Holding the glass to his ear he makes 
believe to hear the queen reply that she is n’t quite 
dressed; she has n’t finished doing up her back hair, 
or something to that effect. All this he duly reports 
to the audience. Finally, he entreats Her Majesty not 
to keep the company waiting, but to come just as she 
is. He puts down the glass on the table, and as he 
does so, again starts the clockwork train. The card 
now rises, but with its back to the company. The 
performer expresses his astonishment at such unlady¬ 
like behavior, and replacing the card, still reversed, 
among the loose cards in front, begs Her Majesty to 


712 


Recollections of Hartz 


come up properly, which she does, i. e., the duplicate 
queen, facing the right way, makes its appearance. 

THE PORTFOLIO TRICK 

Of this formerly very popular trick there are two 
or three versions. The root idea is the same in all, 
viz., the production of a quantity of articles of consider¬ 
able bulk from an ordinary-looking drawing portfolio 
which, without the aid of magic, would be clearly inade¬ 
quate to contain them. (Modern Magic , p. 468.) 

In the usual method of working, the greater number 
of the articles to be produced are of a collapsible 
nature, and are concealed in the portfolio from the 
outset; the spectators being prevented from suspect¬ 
ing this by the fact that other articles, of a mani¬ 
festly non-compressible order, are also produced; 
these latter having been concealed on the person of 
the performer. 1 

1 For Robert-Houdin’s very effective working of the trick see his 
Secrets of Stage Conjuring, p. 229. His portfolio rested upon a couple 
of light trestles, so that the spectator could see right underneath it. 
The portfolio, when closed, was little more than an inch thick; and yet, 
by the way of a final surprise, a living child, five or six years old, was 
produced from it. 

The secret of this last production lay in the fact that to one of the 
edges of the portfolio (on the side which was lowest when it was placed 
in position) was attached a piece of green cloth, of the same size as the 
portfolio itself; professedly for the better protection of the works of 
art it might contain. This, at starting, lay flat upon the lower cover. 
After each of the first three productions the performer closed the 
portfolio, but after the fourth (that of a large cage of living canaries), 
he left it open, the upper leaf being propped up by a jointed elbow- 
piece. In producing the cage he accidentally (?) drew out with it the 
cloth flap just mentioned, which hanging down to the floor, concealed 
for the time being the space behind it. The supposed accident was 
almost immediately rectified by the performer’s assistant, but during 


Recollections of Hartz 


713 


It cannot fairly be claimed for Hartz’s working 
that it was better, taken all round, than the current 
version; but it was distinguished by his customary 
dash of originality. The special feature in his case 
was the fact that the portfolio could be shown to be 
empty, not only at starting, but at any stage of the 
trick. 

The explanation lay partly in the portfolio itself, 
and partly in the table on which it was laid during 
the performance of the trick. The former was made 
pocket-book fashion, the covers being united on each 
side by a gusset of black calico, of such dimensions as 
to allow of their being opened to an angle of about sixty 
degrees, but not to any greater extent. When the port¬ 
folio was laid on the table and opened, these gussets con¬ 
cealed the operations of the performer standing behind 
it; and this w r as naturally assumed by the spectators 
to be the reason of their existence. As a matter of 
fact, however, these particular gussets were not seen 
at all during the production of the various objects. 
The upper part of the table formed a box, and in the 
top of it was a sunk flap, hinged on the side facing the 
spectators, and a trifle less in area than the portfolio. 
This flap likewise had a gusset on each side, correspond¬ 
ing with those of the portfolio, secured at its lower 
edges to the interior of the table. 

For the performance of the trick, the portfolio was 
laid flat on the table. It was then apparently opened, 
but in reality both sides were lifted together, and with 
them the flap of the table, the gussets at the sides of 

the few seconds that the cloth hung down a stage trap had brought 
the child to the level of the portfolio, sinking down again as soon 
as he had fairly landed within it. 




7H 


Recollections of Hartz 


this representing, to the eye of the spectator, those of 
the portfolio. 

Under these conditions the performer had merely to 
develop and produce the various articles with which 
the table had been previously loaded. 

In connection with this subject, I may take the 
opportunity of mentioning another version of the trick 
which may possibly be interesting to the reader. 

The portfolio is in this case used in conjunction 
with a table having a servante, and is of small size, 
measuring, say, eighteen inches by twelve, or there¬ 
abouts. It folds quite flat, and is at the outset shown 
to be empty. The decoration of the covers is an 
essential point. In the centre of each is an oblong 
panel, with a narrow gilt border, and having a margin 
of about two and a half inches all round it. The 
panel of the cover, w T hich in use is undermost, is cut 
out, and is glued to an intermediate flap or leaf of card¬ 
board, lined on its upper side to match the inside of 
the upper cover. 

When, at the outset of the trick, the portfolio is 
exhibited, inside and out, to prove it empty, this 
intermediate flap is held close against the lower cover, 
and apparently forms one with it. But wdien placed 
on the table for use, the flap is lifted with and held 
against the upper cover. The panel-space is thus 
left open, and by drawing the portfolio back a little, 
the opening is brought over the servante, on which the 
articles to be produced (in this case small affairs, such 
as reticules, multiplying balls, or toys for distribution) 
are beforehand placed. 

In this case also- the performer can at any moment 


Recollections of Hartz 


715 

close the portfolio, bringing the flap against the lower 
cover, and then, reopening it, show it empty. 

THE SECOND-SIGHT TRICK 

This was worked by Hartz after a rather elemen¬ 
tary fashion, having nothing in common with the 
elaborate system devised by Robert-Houdin, and 
subsequently reproduced, with more or less modifica¬ 
tion, by Robert Heller and others. 

I never had the good fortune to see the trick ex¬ 
hibited either by Robert-Houdin or by Heller, though 
I have witnessed many later versions of it, probably 
not less effective. The most finished, and in some 
respects in advance of any other winch I have seen, 
is that of a distinguished amateur, Sir Alfred Cooper. 
I am not at liberty to publish the details of his code, 
though I have the good fortune to possess them, but 
I may mention, as a “tip” of the greatest value to 
any one interested in the subject, that one of the 
special features of his system is the holding in reserve, 
by the blindfolded medium, of the main part of the 
information conveyed by the question, so that a 
moment or two after he may volunteer, unasked, 
various additional details. The adoption of this plan 
adds enormously to the effect of the feat. For instance,, 
a question is put as follows: “Please tell this gentle¬ 
man, sir, what this is.” 

The question, thus worded, tells the “medium” that 
the object handed up is a railway season ticket, first- 
class, and that the two first figures of the number 
on it are 15. But he holds the greater part of this 
information in reserve, merely saying: “It looks to 
me like a ticket.” 


716 


Recollections of Hartz 


The questioner proceeds: “Quite right; but cannot 
you tell me what sort of ticket ? ” This further question 
tells the medium that there are two more figures, viz., 
51, to complete the number, but he merely answers: 
“I see that it is a railway ticket.” At this point he 
makes a distinct pause, that the audience may notice 
that no further question is asked, and then says slowly, 
as if making a mental examination of the object: “On 
looking at it I see that it is a season ticket. It is 
first class” (pause) “and the number appears to be 
I55 1 *” 

Again, a watch is handed up. We will suppose that 
the question put is: “Can you describe this now?” 

These words, few as they are, convey a great deal. 
They tell the medium that the article is a gold “hun¬ 
ter” watch, and that the time by it is two minutes 
later than an approximate time agreed upon between 
the two performers beforehand, say, ten o’clock. He 
holds all these particulars in reserve, replying simply, 
“It is a watch,” and waits to see whether the inter¬ 
rogator speaks again. If not, he proceeds, with due 
deliberation, to give the above details. If any further 
question is asked, he knows that it is a clue to the 
number of the watch. Thus suppose the interrogator 
proceeds: “Good! Kindly tell me what kind of 
watch.” 

This tells him that the number begins with 810. 
He takes mental note of these figures, but merely 
replies to the question asked, “I see it is a hunter,” 
and again waits. If no further question is asked, he 
would assume that 810 is the complete number, but 
we will suppose that the principal performer says: 

1 ‘ Well! what else ? ’ ’ 


Recollections of Hartz 


717 


This gives him the figures 20. He says slowly: “I 
see it has a gold case” (pause) “and the time by it 
is two minutes past ten. Now that you have opened 
it, I see that the number is” (pause) “81,020.” 

These two instances are not imaginary, but are 
samples of the trick as actually worked by Sir Alfred 
Cooper. It is obvious that most objects would not 
require, or indeed admit of, such minute particulars, 
but the code is so arranged as to allow of precise 
description of almost any conceivable article. As 
illustrating its extraordinary completeness, I may 
mention that there are no less than ninety cues for 
the names of coins alone, and that the total number 
of cues has grown year by year till it is now consider¬ 
ably over twelve hundred! Even to one acquainted 
with the secret, and as a mere feat of memory on the 
part of the performers, the trick is a marvel. To 
the uninitiated it seems impossible to doubt that the 
medium, by some clairvoyant faculty, really sees the 
articles he is describing. 

But the effect of a trick is by no means in direct 
ratio to its complexity, and it is not unlikely that 
Hartz’s rough and ready working created in its day 
as much astonishment as is produced by the most 
perfect “code” system. 

The method which he employed is as simple as it 
is audacious, and as audacious as it is simple. The 
performer asks the loan of a hat. The request being 
granted, he further asks the owner to take it round 
among the company and collect in it any small articles 
they would like to have described, he himself meanwhile 
blindfolding the medium, or inviting some one else to 
do so. When some twenty or more articles have been 


7 i8 


Recollections of Hartz 


collected, he takes the hat, receiving it in his left hand, 
and having just previously palmed in the right (from 
a pochette or from the servante) a number of small arti¬ 
cles of his own, say a ring, a locket, a shilling, a foreign 
coin, a tram ticket, a penknife, a toothpick, a key, 
and a silver matchbox, all held together by a rubber 
ring. .These articles (some of which will, in all prob¬ 
ability, be practically duplicates of objects actually 
collected) the medium has memorized in a particular 
order, taking careful note of any useful details, such as 
the dates of the coins, a crest upon the matchbox, the 
number and kind of matches in it, and so on. 1 

In taking the hat from the person holding it, the 
performer tilts it a little, so that the collected articles 
shall run down to one side of the crown. He then 
brings it again to the perpendicular, and inserting 
his right hand, containing the palmed articles, brings 
out some object apparently haphazard. As a matter 
of fact, however, the object he takes out is the pre¬ 
arranged first article of the handful just inserted, 
the rest being left behind in the hat. He enquires 
what this article is, asking further questions as to 
any special marks or peculiarities about it, and now 
and then allowing the description to be verified, in a 
casual sort of way, by the spectator nearest to him. 
Occasionally, by way of variety, he allows the medium 
to volunteer the further information; of course with 
the usual elaborate pretence of “seeing” the article. 
When he reaches, say, the last two items on his pre¬ 
arranged list, he hears, or pretends to hear, a remark 
to the effect that he communicates the answer by the 

1 As a necessary measure of precaution, the changes were rung, at 
successive performances, on different sets of similar articles. 


Recollections of Hartz 


719 


form of the question. Professing to feel somewhat 
hurt that such a thing should be thought possible, 
he hands the next article to one of the spectators 
and asks him to put the question himself, in any¬ 
way he pleases; or still further to negative the idea 
of a cue, he says: “This time no question shall be 
asked at all. Just clap your hands when you would 
like the medium to describe the article, and he will 
do so.” Which he does accordingly. 

THE POCKET-PICKING TRICK. 

This very effective trick, which consists in producing 
chosen cards from the shuffled pack, placed in per¬ 
former’s pocket, was an especial favourite with Hartz. 
His version was undoubtedly original, so far as he was 
concerned, though a similar trick has been exhibited 
by other performers, who may have equal claim to the 
credit of having invented or re-invented it. In effect, 
it has some resemblance to Robert-Houdin’s Clairvoy¬ 
ance du Toucher , a modification of which was worked 
with great success by the late Alexander Herrmann, 
under the name of the Egyptian Pocket. The modus 
operandi, however, is wholly different. To enable the 
reader to appreciate the differences between the two 
tricks, it may be convenient first briefly to recapitulate 
the effect of Robert-Houdin’s version. 1 

A spectator is invited to select a card. This (freely 
chosen) is replaced in the pack, brought to the top 
by the pass, palmed off, and the pack handed to be 
shuffled. The card is then replaced on the top, the 

1 For a detailed description of the trick, with the very effective mise 
en scene of Robert-Houdin, see his Secrets of Conjuring and Magic, 
p. 202. 


720 


Recollections of Hartz 


performer having in the meantime “got sight” of it. 1 
A spectator is invited to come upon the stage, and 
to empty his breast-pocket, in which the cards are 
then placed, backs outwards. The performer makes 
a little oration as to the delicacy, in certain cases, of 
the sense of touch, and the extent to which it may 
be cultivated. As an illustration, he undertakes, by 
touch only, to discover the drawn card. To make 
the experiment more striking, he will produce it at 
any number the drawer pleases. “Seventh, ” we will 
suppose, is the number selected. He accordingly takes 
out six indifferent cards, one after another (these being 
drawn from the bottom of the pack). Before producing 
the drawn card, he says, he will endeavour, with the 
aid of his little finger, which is the most sensitive of 
the five, to discover its nature. He once more places 
his hand in the pocket, and after feeling about therein, 
announces that the card is, say, the nine of diamonds, 
or as the case may be. The drawer admitting that he 
has named it correctly, he then brings out the top card, 
which is seen to be the right one. 

Alexander Herrmann developed the trick in a new 
direction, characteristic of his splendid audacity. 2 
Having secured the aid of a spectator, he had four 
cards freely drawn. His volunteer assistant was in¬ 
structed to collect them, faces down, on the palm of 
his hand. He was then asked to put them in the 
middle of the pack (which the performer divided in 
half to enable him to do so); to take the pack in his 
own hands, and shuffle thoroughly. Meanwhile, how¬ 
ever, the four cards had been passed to the top, and 
palmed off. After the shuffle they were replaced, 

1 See Modern Magic , p. 34. 2 See Ibid., p. 106. 


Recollections of Hartz 


721 


in the same order, on the top. The pack was then 
placed, as in Robert-Houdin’s version, in the breast¬ 
pocket of the volunteer assistant. Herrmann, who had 
taken careful note of the order in which the cards had 
been replaced by the four drawers, asked the person 
whose card was last returned (and was therefore outer¬ 
most) to name his or her card. The answer was, we 
will suppose, the king of hearts. The performer then 
said to the assistant: “Now, sir, touch the end of my 
wand, and before the influence has time to evaporate, 
put your hand in your pocket, and take out the king 
of hearts. ” The assistant, thus urged to haste, natur¬ 
ally took the card which first offered itself, namely, the 
top or outermost card, which, of course, proved to be 
the right one. The process was repeated with the 
other three cards. 

If, by accident or with malicious intention, the as¬ 
sistant takes a card from the middle or bottom of the 
pack, the performer is not at all discomfited. 11 My dear 
sir, ” he says, “you were not half quick enough. You 
allowed the influence to go off. You will never make 
a conjurer if you are not quicker in your movements 
than that. See! you must do like this . ” He touches 
the end of the wand, and plunging his own hand quickly 
in the pocket, produces the right card. After this mild 
rebuke, the volunteer assistant (even if he realizes 
that the drawn cards are at the top) may usually be 
relied on, for his own credit’s sake, to produce the 
right ones, as asked for, without further trouble. 1 

1 My own working of this trick was a combination of Robert-Houdin’s 
and Herrmann’s. A lady was invited to draw a card. After she had 
made her selection, I asked her to allow the card to rest, face down¬ 
wards, for a few moments on her left palm. It was then returned 
46 


722 


Recollections of Hartz 


Hartz’s pocket-picking trick, as will be seen, differed 
from either of these. The pack used was the piquet 
pack of thirty-two cards. This he handed to one of 
the company, with a request that he would take it 
into his own hands, pick out a card, and replace it 
just where he pleased. This was repeated till some 
half-dozen cards had been drawn and returned to the 
pack, the performer taking absolutely no part in the 
various operations. The person who last shuffled was 


to the pack, and the pack shuffled, the drawn card being in the mean¬ 
time palmed off and got sight of, after Robert-Houdin’s fashion. This 
done, and the card replaced on the top of the pack, I informed the 
company that even in the short time the card rested on the lady’s 
palm it had made a distinct impression thereon, perceptible to the 
educated touch, though not to sight. Hence I explained my preference 
of a lady to draw the card, the coarser masculine palm being less adapted 
to receive so delicate an impression. In order to prove my assertion, 
I asked permission to lay my own hand on that of the lady for a single 
moment. Making believe to read the impression with the finger-tips, 
I declared that the card was—whatever it actually happened to be. 
I further explained that a faint impression of the card was now trans¬ 
ferred from the lady’s hand to my own, and, as like naturally seeks 
like, I could, by means of the sympathy thus established, instantly pick 
out the card from its position in the pack, even when hidden in the 
gentleman’s pocket which I proceeded to do accordingly. 

I then offered to prove “no deception” by showing that my volunteer 
assistant, with a little instruction, could do the same thing himself. 
A card was drawn by a second lady, and dealt with as in the former case, 
the pack being finally placed in the pocket. I asked the lady to allow 
the gentleman to touch her hand, assuring him that he would be able to 
read off the impression of the card as easily as I had done. Naturally, 
he failed to do so, whereupon I myself tried the experiment in his stead, 
and duly named the card. I remarked that the impression was rather 
imperfect, owing probably to the lady not having held her hand perfectly 
flat; but that in any case the sympathy established between the lady’s 
hand and his own would still enable him to draw out the card, which, 
upon trial, he usually did successfully. If otherwise, I saved the trick 
by myself producing the right card, the audience giving him the credit 
(or discredit) of his own failure. 



Recollections of Hartz 


723 


invited to place the pack in the performer’s breast¬ 
pocket, previously turned inside out and shown empty. 
After a few words of explanatory patter, as to being 
able to see with the tips of his fingers, or the like, 
he asked one of the drawers to name his card. “The 
nine of spades,” we will suppose, was the reply. The 
performer dipped his hand into the pocket, and with 
scarcely a moment’s hesitation, produced the nine of 
spades. The other cards drawn were named in turn, 
and produced in like manner. 

The secret lay in the use of a second pack, specially 
prepared, and arranged in a card-case of peculiar con¬ 
struction. This consisted of four leather pockets, each 
the width of a card, or a little more, and in depth 
about half the length of a card. These were sewn 
together at bottom, like four leaves of a book. Each 
pocket contained one suit, the thickness of the leather 
keeping the four suits sufficiently apart to be readily 
distinguishable by feel. To render the individual cards 
of a suit more easily get-at-able, they were made to 
vary in length. The king alone was left intact. The 
queen was cut shorter, by, say, a sixteenth of an inch, 
the knave by two-sixteenths, the ten by three-six¬ 
teenths, the nine by half an inch, and so on. Each 
suit was placed in its appropriate pocket, the tallest 
card hindermost, and the other cards of the suit in 
front of it in due order, terminating with the ace. 

The pack of cards thus arranged was at the outset 
vested, 1 and was introduced by the performer into the 
pocket under cover of a few remarks interchanged with 

1 Hartz’s special appliance for vesting a prepared pack has been 
described in connection with his Mechanical Rising Cards. (See 
page 706.) 


724 


Recollections of Hartz 


the gentleman who has placed the shuffled curds therein. 
He enquires, as seems reasonable enough, how the pack 
has been placed, whether on its side, or end up, and 
which way it faces, presently, with a perfectly natural 
gesture, putting his hand into the pocket, as if to make 
sure that all is as he would have it. Under cover of 
so doing he leaves the prepared pack in the pocket, 
and the trick is practically done. Knowing the order 
of the suits, and the position of each card in the 
suit, it is an easy matter to produce any one asked 
for. 

The main points in which Hartz’s method, as above 
described, differs from other current workings, are, first, 
the gradation of the cards, which enabled the performer 
to produce them with ease and rapidity; and secondly, 
the introduction of the faked pack after the genuine 
pack has been placed in the pocket. Most performers 
insert it beforehand, thereby weakening the effect of 
the trick in two particulars: viz., firstly, the pocket is 
not shown, empty, and, secondly, the performer must 
himself place the shuffled pack in it, instead of proving 
(?) his good faith, by allowing it to be put in position 
by a spectator. These are but trifles, granted; but it 
is upon just such trifles that the magic of a conjuring 
trick depends. 

I find among my memoranda a note of the same 
trick in effect, worked as far back as 1882, by a French 
performer named Simon, his method being, I believe, 
his own invention. The thirty-two cards were arranged 
in regular order in four leather pockets, laid one against 
the other, but not joined together. These were placed 
in the coat-pocket beforehand. To render the pockets 
more readily distinguishable, the upper end of each, 


Recollections of Hartz 


725 

at back, was shaped in a different manner, as represen¬ 
ted by A, B, C, and D respectively in Fig. 261. 



Fig. 261. 

THE AERIAL WALKING-CANE. 

This is one of the numerous forms of the “ suspen¬ 
sion'’ trick. It was at one time a favourite with 
Hartz, but, unlik,e most of his specialities, it was not of 
his own devising, the actual inventor being Professor 
Henri Herrmann, already mentioned (p. 615), who 
exhibited it with great effect as an item of his own 
programme when performing in conjunction with Dr. 
Lynn at the Piccadilly Hall, in 1877. 

The performer brings forward a long, narrow cloth- 
covered case, not unlike that used to contain a violin 
bow, and takes from it a polished ebony walking-stick, 
with ivory top and ferrule. After this has been duly 
examined, he replaces it (under some pretext furnished 
by his patter) in the case, but presently taking it out 
again, causes it to suspend itself, by virtue of some 
mysterious attraction, from his finger-tips in various 
positions. 

As the acute reader will doubtless have surmised, 
the object of keeping the stick in the case, and putting 
it therein again after examination, is to exchange it for 
another, specially prepared. This must be admitted to 













726 


Recollections of Hartz 


be a weak point. People don’t usually keep walking- 
sticks in cases, and in conjuring everything done 
without apparent motive is suspicious and therefore 
to be avoided. In the working of Messrs. Herrmann 
and Hartz, however, the principal trick was prefaced 
by another, on somewhat similar lines, but produced 
by wholly different means; the combination of the 
two neutralizing to a considerable extent the weakness 
in question. 

The two sticks used, though alike in their external 
appearance (which is as depicted in Fig. 262), differ wide¬ 
ly in other particulars. Each is two 
0 feet nine inches long, and in greatest 
thickness five-eighths of an inch. The 
knob (if it can be so called, being ac¬ 
tually cylindrical) is of ivory, and the 
ferrule of the same material. Here, 
however, the resemblance ends. The 
body of the stick examined by the 
company is of solid ebony. The one 
with which the trick is actually worked 
is a tube of blackened papier-mache , 
weighing, inclusive of the ivory mounts, 
barely one and a half ounces. At a 
distance of not quite twelve inches 
from the upper end is a minute hole, 
from which protrudes a loop of fine 
but strong black hair, 1 of such a size 
as to pass freely over the performer’s 
hand, as far as the roots of the fingers. 

The case used for changing the two sticks (Fig. 263) 

1 The hair of the Japanese women is found specially suitable for this 
and similar purposes. 


Fig. 262. 













Recollections of Hartz 


727 


is about an inch longer than the sticks themselves. In 
width it is two inches, and in depth one and a half 
inches. It is reversible, having a lid both at top and 
bottom, but these are hinged to opposite sides, so 
that a cross-section of the empty box, if both sides 
were opened at once, would be as shown in Fig. 264, the 
deeper depression being for the accommo¬ 
dation of the stick, and the shallower for 
that of the knives to be presently men¬ 
tioned. The interior is filled up “solid,” 
and lined with velvet, the depression or 
cavity next* the hinge side, for the reception 
of the stick, occupying rather less than 
half the width of the case. In the other 
half are three shallower depressions, each 
containing an ordinary table-knife; the appearance of 
the whole, when the case is opened, being as in Fig. 
262. Both sides are fitted in exactly the same way, 
but in the- one case (that of the side last opened) the 
three “knife” cavities are left empty. 

The performer introduces the trick as an experi¬ 
ment in animal magnetism, designed to prove that 
the magnetic force is not confined to metallic objects. 
He is accustomed to use for the experiment, he says, 
a walking-stick which is an heirloom in his family, 
having been handed down from his great-great-great- 
great-grandfather. It is valued so highly, as a family 
relic, that one of his ancestors, a few generations back, 
had a case made specially to keep it in. Here he 
opens the case and takes out the solid stick, which he 
hands for examination. On receiving it back, he rubs 
it with a silk handkerchief (“to develop the magnetic 
influence”). Just, however, as he is about to show 



Fig. 264. 




728 


Recollections of Hartz 


the promised experiment, he bethinks himself that it 
may be better, by way of introduction, to exhibit the 
same effect in another shape, using instead of the stick 
the three knives which are also seen in the case. 

He therefore replaces the stick, for the moment, in 
its bed, and taking out the three knives, offers these 
also for inspection. When they are returned he lays 
them on the same table (a small one) on which the 
case is resting, and, professedly to gain more room, 
shifts the latter to another table, whereon a sheet of 
white paper is laid. The ostensible reason for this is 
to “insulate” the stick and prevent the escape of the 
magnetic influence, but its real purpose is to make 
it easier for the performer to see the hair-loop, which, 
unless against a white background, is practically 
invisible. 

During tins transier from the one table to the other, 
the performer turns the box the other way up, this 
slight movement being quite imperceptible. 1 Then 
taking one of the knives in the left hand, he draws 
the fingers of the right hand along the blade two or 
three times, after which, laying the fingers of this 
hand on the blade, he proceeds to wave the knife 
about in various directions. 

The secret here lies in the manner of placing the 
fingers. The first joints of the middle and third fingers 
are laid flat on the blade, while the tips of the first and 

1 Personally, instead of transferring the case to another table, I 
should be disposed to place it, still open, upright against a chair or 
side-scene. In turning round to do so, the performer would naturally 
interpose his own body for a moment between the case and the eyes of 
the spectators, thereby gaining ample opportunity to give the case the 
necessary half-turn; or, if preferred, he might do this when he again 
approached the case to take the stick out of it. 


Recollections of Hartz 729 

fourth, resting against the edge (which for obvious 
reasons should not be too sharp), press it outwards. 
This pressure in opposite directions, slight as it is, 
supplies the needful amount of support. 1 

After waving about the knife in various directions, 
the operator transfers it to the opposite hand, but in 
this case lays it across the second joints of the fingers. 
In this case the suspension is effected by another 
method, for which a little preliminary preparation is 
necessary. On the left side of the performer’s vest? 
just below the armhole, is sewn a button. To this 
is attached, by a loop of thin cord, an elastic pull, 
consisting of four thin strands of raw rubber, about 
three inches in length, laid parallel, and joined together 
at the ends. 

It may be here noted that where free extension of 
rubber is desired, combined with a fairly strong pull 
and a quick return, several weak strands, acting in 
concert, will be found much more effective than a 
single larger one. 

At the opposite ends of the rubbers is another short 
loop of cord, to which is attached a longer loop (about 
seven inches) of unbleached flax thread. The length 
of the whole should be, approximately, about twenty 
inches. The precise measurement most suitable must 
be ascertained by personal experiment, as it will vary 
according to the length of the performer’s arm, and the 
exact amount of tension desired. 

When required for use, this appliance is drawn down 
the sleeve into the left hand, and the loop of thread 
secured by being brought under the nail of the out¬ 
stretched middle finger (the nail being kept somewhat 

1 For a similar trick with the magic wand see page 112. 


730 


Recollections of Hartz 


long for that purpose). In this condition the rubber 
should exercise a fairly strong, but not excessive 
tension, so as to hold the thread taut to the hand. 

Thus prepared, the performer comes forward to show 
the trick. Having duly exhibited the knife at the 
finger-tips of the right hand as already described, he 
transfers it to the left hand, passing the blade between 
the fingers and the extended thread. The pressure 
of the thread holds it close to the hand, and the opera¬ 
tor can wave it about in various directions, only taking 
care that the spectators shall not get sight of the in¬ 
side of the hand. After a little of this, he takes the 
two remaining knives and inserts their blades, one on 
each side, at right angles to each other, under that 
of the one already in the hand, when all three remain 
suspended. Presently he advances to a spectator, and 
invites him to take the three knives from the hand. 
The moment this is done, he bends the fingers. The 
loop, thereby released from the nail, flies up the sleeve, 
and no trace is left of the means whereby the suspension 
was effected. 

Having completed the display with the knives, the 
performer once more takes the stick out of its case. 
This time, however, the case having been reversed, it 
is the prepared stick which he takes out. He lays it 
down again on the white paper while he shows his hands 
free from preparation. He then picks it up again, 
and draws the fingers along from end to end two or 
three times, professedly ‘‘magnetising” it. In so 
doing he gets the forefinger of the right hand within 
the hair-loop, after which the other three fingers are 
introduced in succession. When all four are within, 
he gradually works the hand forward till the loop lies 


Recollections of Hartz 


73i 


across the roots of the fingers, the “knob” end of the 
stick pointing to the right, nearest to the little finger. 
The thumb, which is left outside, rests upon the upper 
side of the stick, the wand appearing to adhere to the 
thumb and little finger. 

After waving the stick about in various directions, 
he transfers it to the left hand, but in this case inserts 
the forefinger only within the loop. A pretty effect 
may now be obtained by letting the stick rest upon 
the thumb, apparently balanced upon it, though in 
reality suspended from the forefinger. A still more 
striking effect may be produced by holding the stick 
suspended in a nearly vertical position from the left 
forefinger, in the centre of a circle formed by the 
junction of the two thumbs and the two forefingers, 
so that it is in contact with neither, but hangs 
like Mahomet’s coffin. Other effective positions will 
naturally suggest themselves to any expert making a 
study of the trick. 

Combined after the above fashion, the two tricks 
form an effective complement, the one to the other. 
The pretended afterthought as to the knives supplies 
a colourable pretext for the return of the stick to the 
case . 1 Further, the same effect (from the point of view 

1 The case might very well be dispensed with altogether, the examined 
stick being laid on the performer’s table and “changed,” as described 
on pages 126, 127. An alternative plan would be to work the suspen¬ 
sion trick first with the wand, after the manner described on page in, 
and having done so, to remark that it is even possible to transfer the 
mystic virtue of the wand to some other object. After professedly 
doing this, the stick would be “magnetised” by drawing the wand along 
it, and the trick then continued as in the text. Having just seen a simi¬ 
lar effect produced with the wand, which they have freely handled, the 
audience are not likely to suspect any preparation in the case of the stick. 


732 


Recollections of Hartz 


of the ordinary spectator) is exhibited three times over, 
though it is each time produced in a different way. 
This is always a desideratum in conjuring; because, the 
theory which might explain one phase of the trick 
being obviously inadmissible in another, the true ex¬ 
planation remains, as Jeames de la Pluche would say, 
“wropt in mistry. ” 

To obtain thoroughly satisfactory results, the stick 
should be so balanced that, when suspended from one 
finger, it should hang “knob” upwards, at an angle of 
about 45 degrees to the horizon. Its inclination will 
be mainly governed by the point at which the loop is 
fixed, but it is difficult to ascertain the right point 
with absolute certainty beforehand. There is pretty 
sure to be some slight deviation, but this is corrected 
in a very ingenious way. The ivory top and ferrule 
are each hollow. If extra weight at either end is 
required, a little slip of paper is rolled up, and inserted 
at the appropriate end; even so minute a weight as this 
sufficing to give the stick a greater or less inclination. 

It may be well to explain, in conclusion, the manner 
in which the hair-loop is attached to the stick. Each 
end of the hair, which is, approximately, about seven 
inches long, 1 is attached to a tiny slab of rubber about 
a quarter of an inch square (cut from an ordinary 
elastic band). A threaded needle, broken off short 
at about one-third of an inch below the eye, is passed 
through the hole in the stick, and the thread paid 
out till it comes out at one of the open ends. The 
needle is then removed, and a little loop formed at 
the end of the thread. Through this loop the hair is 

1 The actual length of the loop must, as before stated, be such as to 
allow the passage of all four fingers. 


Recollections of Hartz 


733 


passed to the extent of half its length, and the two 
ends laid side by side. The thread, being then drawn 
back, brings the hair out through the hole. A single 
drop of thick gum, inserted in the opening, keeps all 
secure, and prevents the hair, by any accident, slipping 
back again. 


THE EGG AND RINGS TRICK. 

The performer commences by borrowing three lady's 
rings. These he collects on a little stick, and thence 
pours them into a tumbler, which is handed to a spec¬ 
tator for safe-keeping. He next borrows a tall hat, 
but when about to place it on his table, notices that 
the owner has left something in it. This proves 
to be an egg, which is handed to another spectator. 
After turning up the lining of the hat, “that it may 
not get damaged, ” he leaves it on the table. Taking 
back the egg, he breaks it into a nickle-plated goblet, 
and beats it up with the stick on which the rings were 
collected. Then, advancing with both hands extended, 
but the one with the goblet the more advanced, he says 
to the person holding the rings: “Drop them in here.” 
He naturally drops them into the goblet. The per¬ 
former pretends that that was not what he meant— 
that he wanted them dropped, not into the cup, but 
into the disengaged hand. Finally, however, he says: 
“Well it can’t be helped. So much the worse for 
the hat! They have got to go in, anyhow.” 

So saying, he pours the contents of the goblet into 
the hat, adding to the discomfort of the owner by 
passing his fingers round the inside edge of the cup 
and apparently wiping them on the hat-lining. When 


734 


Recollections of Hartz 


he thinks he has sufficiently “piled on the agony,” he 
discovers that things have turned out better than he 
had expected. Dipping his hand into the hat, he lifts 
out by a loop of ribbon a circlet of flowers, six inches in 
diameter, from which, on three swivel hooks, hang the 
borrowed rings. Below them in the centre, attached 
to another swivel, hangs a dome-topped cage containing 
a couple of living canaries, professedly the product of 
the egg. The rffigs are detached, and returned to the 
owners, the first two in the ordinary way. When, 
however, the performer is about to return the third, 
it somehow vanishes from his fingers, and finds its way 
into his pocket, from which it is in due course produced. 
This last is, of course, a mere effect of palming, in the 
apparent transfer from right hand to left, or vice versa. 

In preparing for the trick, the egg to be produced is 
placed in the performer’s right sleeve. The moment 
the arm is lowered it runs down into the hand, and 
is then introduced into the hat, though, according to 
his patter, the performer has discovered its presence 
there some moments earlier. The egg having been 
taken out, and handed to a spectator, the operator 
places the hat on his table, and under cover of the 
turn for that purpose loads into it the cage, taken from 
a pocket in the left breast of his coat. 

The cage is constructed as follows: Each pair of 
wires is joined at bottom, being in fact a single wire 
bent into a long straight loop, like an exaggerated 
hair-pin, and having its ends attached, by small eyelets, 
to the upper part of the cage. The bottom, when the 
cage is expanded, rests upon the loop end (which is 
bent square) of each pair of wires, but can be moved 
up along them to within about two inches of the top. 


Recollections of Hartz 


735 


The wire may be then folded down upon the bottom, in 
which condition the cage occupies very little space. At 
its extreme top is a little cup, closed by a hinged lid, 
for the reception, at the proper time, of the beaten egg. 

The flowers forming the wreath are artificial, and 
are wired on to a brass hoop, bearing the three swivels 
for the reception of the rings, and a fourth for the 
suspension of the cage. This hoop rests at the onset 
on the top of the cage. There is a piece of ribbon 
loosely crossing the hoop for the purpose of lifting it 
out of the hat. When this is done, the cage naturally 
follows, the bottom sinking by its own weight to its 
normal position, where it fixes itself by means of three 
little spring catches. 

The stick on which the borrowed rings are collected, 
and which is afterwards used to beat up the egg, is of 
boxwood, ten inches in length, and in appearance not 
unlike the piston of a child’s popgun. It is, however, 
not quite so innocent as it looks. A glance at the 
sectional view given in Fig. 265 will enable the reader 


Cu 



¥mi 1^111 iinr 

iliiliillliifi. 

llifcnas U U 


Fig. 265. 


to understand its construction. In the handle portion 
is excavated, round the stick proper, a cavity large 
enough to contain three finger-rings. In this space 
are beforehand placed three dummy rings threaded 
one after another upon the stick, the cavity being 
then closed by passing over the stick and pushing 
home the tubular plug a , which just fits the opening. 
The borrowed rings having been collected on this stick, 










736 


Recollections of Hart z 


the performer, with the forefinger and thumb of the 
hand which holds it, loosens the plug. The opposite 
hand then draws off the plug, and with it the borrowed 
rings, the substitutes taking their place upon the stick. 
It is therefore the dummies which are handed for safe 
keeping, and are ultimately dropped into the beaten 

egg. 1 

Meanwhile, the performer, under cover of turning up 
the leather lining of the hat, hooks the three borrowed 
rings upon the appropriate swivels. The trick is now 
practically done. All that the wizard has to do is to 
pour the egg and the dummy rings into the hat (really 
into the cup at top of bird-cage), lift out the cage, and 
return the rings. 

The palming and production from the pocket of 
the last ring are, of course, optional, but they bring 
the trick to an effective conclusion. 

In connection with the subject of 1 ‘egg and hat” 
tricks, I may mention a special goblet occasionally 
used by Hartz in tricks of this class, as it differs to 
some extent from most others used for the same pur¬ 
pose. This is a handsome nickel-plated cup stand¬ 
ing four and a half inches high, as a in Fig. 266. In 
reality it consists of two portions, the outer cup a, and 
an inner one, b. This latter is externally only three- 
eighths of an inch shorter than a, but its internal depth 
is three-quarters of an inch less than the external, its 
actual bottom being in the position indicated by the 
dotted line. At the point d is a small air-hole. 

1 As the reader is doubtless aware, rings are now changed by much 
better and simpler processes, but Hartz’s was a greater advance upon 
the methods previously used, and indeed probably suggested the idea 
of the more elegant change upon the wand. (See page 190.) 


Recollections of Hartz 


737 


In use, the portion a is loaded into the hat (either 
separately, or by openly introducing both a and b 
together, and bringing out again b only). The egg, 
beaten up in b, is poured into the hat, or in reality 
into a, into which b is then lowered after which both 
are brought up together, as one, the vent at d allow¬ 



ed 


Fig. 266. 


ing the air to escape, and so permitting the one to be 
fitted closely into the other. 

The wire edge shown round the mouths of the cups 
in the diagram forms part of the smaller only, and 
facilitates the lifting out of the latter after the two 
together have been lowered into the hat. 


47 









L’ENVOI 


W ITH this item I bring these Recollections of Hartz 
to a close. My only regret is that they are not 
more complete, as they would certainly have been had I 
anticipated that my rough notes of conversations with 
my old friend were destined, many years later, to be 
expanded into articles for print. Imperfect as they 
may be, however, I may claim to have placed on record 
a good many items of substantial interest to every true 
lover of magic, and I am pleased to think that I have 
thereby raised a modest cairn to the memory of one 
who, in spite of his admitted deficiencies as a show¬ 
man, was still, in my humble opinion, one of the 
greatest of Modern Magicians. 


Louis Hoffmann. 























































